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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... tell them what I did. In the middle of this play, he is permitted a soliloquy which 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 ...
... in their own villainy and to encourage their audiences to share the amoral thrills, like Marlowe's Barabbas in The Jew of Malta: Now tell me, worldlings, underneath the sun If greater falsehood ever has been done? For the Elizabethan.
... telling effect, his first exploitation of the dramatic possibilities of public face and private thought. Alongside this he is developing a psychological insight and a control of the effects of language which will enable him to point ...
... telling stage quality. An Elizabethan audience knew that Vice must be defeated in the end; in the meantime they would suspend moral judgements and enjoy his outrageous energy and skill in the pursuit of evil. Richard's identification ...
... telling and his individuality flashes out. His reaction to the faithful Mowbray, who realises as well as Richard that his banishment is part of a political bargain the King has had to strike, is cruel and careless: It boots thee not to ...
Tartalomjegyzék
Troilus and Cressida Alls Well that Ends Well | |
Hamlet | |
Othello | |
King Lear | |
Macbeth | |
Julius Caesar Antony and Cleopatra | |
The Late Romances | |
Bibliography | |