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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... moves through the chilling image of the shadow of his deformity to an announcement of his intentions: Why, I, in this weak piping time of peace, Have no delight to pass away the time, Unless to spy my shadow in the sun And descant on ...
... moves out of the darkness and towards Juliet's balcony with the most famous of all his light images: But soft! What light through yonder window breaks? It is the east, and Juliet is the sun! Arise, fair sun, and kill the envious moon ...
... moved out of phase with each other. This instinctive generosity of Richard's is the more marked because he more than anyone else on stage is aware of the dangerous ambition lurking in this Bolingbroke whose sentence he commutes. In the ...
... moved, but his reaction as his great nobles watch anxiously is disastrously personal. As Gaunt's manner becomes increasingly that of an Old Testament prophet, Richard rounds on him peevishly: Gaunt: Landlord of England art thou now, not ...
... moves briskly forward with his plans for insurrection as the King sweeps out. As so often in Shakespeare, the retribution ... move swiftly. The interest throughout the play lies not in the facts of history but in what Coleridge called 'a ...
Tartalomjegyzék
Troilus and Cressida Alls Well that Ends Well | |
Hamlet | |
Othello | |
King Lear | |
Macbeth | |
Julius Caesar Antony and Cleopatra | |
The Late Romances | |
Bibliography | |