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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... look into me with considerate eyes: High-reaching Buckingham grows circumspect. It is the attitude of Lear as he plays the tyrant before his assembled court: but madness must await the author's maturity for fuller investigation. And ...
... look-out for the word-play beloved of Elizabethans to sustain interest. The author's power over words is still developing, alongside his other skills. Benvolio stills a sword-fight as effectively as Othello in a similar situation. But ...
... looks forward to the achievements to come. As Mercutio looks at his death-wound, Shakespeare knows now the understatement, the simplicity which cuts through even a brave, nervous quibble to make a man's departure linger in our ...
... look increasingly to inner conflicts in his characters, and use constructions which will enable him to make the most effective dramatic use of such conflicts. Notes 1. E. K. Chambers, Shakespeare: a Survey, p. 13. 2. See preface to ...
... look no further for explanation than the fact that with Richard's deposition Shakespeare's main interest is at an end; thus this section springs to life only with Richard's death scene and with Bolingbroke's ambivalent reception of the ...
Tartalomjegyzék
Troilus and Cressida Alls Well that Ends Well | |
Hamlet | |
Othello | |
King Lear | |
Macbeth | |
Julius Caesar Antony and Cleopatra | |
The Late Romances | |
Bibliography | |