Public and Private Man in ShakespeareRoutledge, 30.03.2021 - 258 Seiten 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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... Elizabethan play-house. It is a measure of his later achievement that even these popular works are often studied, and sometimes indeed produced on stage, with an eye to the masterpieces which follow. It is generally agreed the first ...
... 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.
J. M. Gregson. If greater falsehood ever has been done? For the Elizabethan dramatist the Machiavellian villain is as conveniently uncomplicated a figure as the hired gunman is for the maker of Hollywood westerns; the convention means ...
... 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 with Vice enables him to ...
... Elizabethan dramatists of the Machiavellian villain, growing out of, but less predictable than, the old Vice of the moralities. Shakespeare achieves a series of stunning theatrical effects by pointing up the two contrasting faces of the.
Inhalt
Troilus and Cressida Alls Well that Ends Well | |
Hamlet | |
Othello | |
King Lear | |
Macbeth | |
Julius Caesar Antony and Cleopatra | |
The Late Romances | |
Bibliography | |