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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... effective than the first three in the scheme, especially on stage. Shakespeare's imagination, his excitement in the exploration of his own developing powers, take wing when he comes to the figure of Richard, the first of his creations ...
... effective use made of the stage concept of the Machiavellian villain is Richard III. And, as usual when Shakespeare picks up something which lies conveniently to hand, he makes more of it than anyone before him. The most remarkable ...
... effective. In his finest work, the strands will be interwoven to supreme effect. In Richard III, they work intermittently and almost entirely around the person of Richard himself, but they are at times thrillingly effective: the first ...
... effectiveness. He breathes life into his Machiavellian villain by his vivid and individual use of the man's physical deformities in the opening speech of the play. He uses the connection with the Vice of the morality plays to give ...
... effective stage creation. There is another use also of the connection with the Vice of the moralities upon which Shakespeare seizes. Nicholas Brooke points out that: Vice was commonly the star of a morality play, what the audience most ...
Tartalomjegyzék
Troilus and Cressida Alls Well that Ends Well | |
Hamlet | |
Othello | |
King Lear | |
Macbeth | |
Julius Caesar Antony and Cleopatra | |
The Late Romances | |
Bibliography | |