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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... heavens have shaped my body so, Let hell make crook'd my mind to answer it. I have no brother, I am like no brother; And this word 'love', which greybeards call divine, Be resident in men like one another, And not in me. I am myself ...
... heaven, If heaven will take the present at our hands. It is the design with which we become familiar as the play proceeds: Richard mouthing righteousness with 'goblin solemnity' 8 in public, then hugging himself in a private glee which ...
... heaven peep through the blanket of the dark, To cry, Hold, Hold! The power of this derives not just from a Shakespeare in full and incomparable flow, but from the design of the drama: sixty seconds after this intensity, we shall see ...
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Tartalomjegyzék
Troilus and Cressida Alls Well that Ends Well | |
Hamlet | |
Othello | |
King Lear | |
Macbeth | |
Julius Caesar Antony and Cleopatra | |
The Late Romances | |
Bibliography | |