Public and Private Man in ShakespeareRoutledge, 2021. márc. 30. - 258 oldal The potential duality of human character and its capacity for dissembling was a source of fascination to the Elizabethan dramatists. Where many of them used the Machiavellian picture to draw one fair-faced scheming villain after another, Shakespeare absorbed more deeply the problem of the tensions between the public and private face of man. Originally published in 1983, this book examines the ways in which this psychological insight is developed and modified as a source of dramatic power throughout Shakespeare’s career. In the great sequence of history plays he examines the conflicting tensions of kingship and humanity, and the destructive potential of this dilemma is exploited to the full in the ‘problem plays’. In the last plays power and virtue seem altogether divorced: Prospero can retire to an old age at peace only at the abdication of all his power. This theme is central to the art of many dramatists, but in the context of Renaissance political philosophy it takes on an added resonance for Shakespeare. |
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... comes to the figure of Richard, the first of his creations which he builds around exploitations of the contrast between private thought and public bearing. The contrast is crude and straightforward: the concept of the Machiavellian ...
... comes in the first speech of the play, which is easily Shakespeare's greatest achievement to date. W. Clemen shows how Shakespeare constantly discovers new possibilities inherent in the soliloquy. 3 Before and even well after ...
... comes from the variety, daring, and increasingly sensational character of his villainy. He turns to his wooing of Anne, and Shakespeare realises as clearly as any plotter of horror films the connections in the dark recesses of the ...
... come. The truth is that neither the author's dramatic nor his other skills are yet equal to megalomania or remorse. Both are suggested; neither is developed with any subtlety. As even Buckingham pauses at the prospect of murdering the ...
... comes to treat the promising material of the second tetralogy of history plays a few years later. The comedies, particularly the early ones, give him little opportunity for interplays of this kind, and the early plays are a series of ...
Tartalomjegyzék
Troilus and Cressida Alls Well that Ends Well | |
Hamlet | |
Othello | |
King Lear | |
Macbeth | |
Julius Caesar Antony and Cleopatra | |
The Late Romances | |
Bibliography | |