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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... shows him conscious of the skills necessary to prosper in this harsh world: Why, I can smile, and murder while I smile, And cry 'Content' to that which grieves my heart, And wet my cheeks with artificial tears, And frame my face to all ...
... shows how Shakespeare constantly discovers new possibilities inherent in the soliloquy. 3 Before and even well after Shakespeare, the soliloquy is most commonly used for primitive selfexplanations and movements of plot. Even in his ...
J. M. Gregson. The opening of Richard III shows Shakespeare at once bringing his psychological insights to bear upon his Machiavellian villain and embodying those insights in a soliloquy which conveys them with incomparable verve: he ...
... shows a new grasp of the blank-verse medium. Richard collects himself, slows the pace again, and 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 ...
... show us Richard's private face continually alongside his public posturings, until those posturings become an elaborate and extended play within the play. Richard alone is permitted direct contact with the audience; when Shakespeare is ...
Tartalomjegyzék
Troilus and Cressida Alls Well that Ends Well | |
Hamlet | |
Othello | |
King Lear | |
Macbeth | |
Julius Caesar Antony and Cleopatra | |
The Late Romances | |
Bibliography | |