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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... Henry IV, Parts 1 and 2 and Henry V 3. The Problem Plays: Troilus and Cressida, All's Well that Ends Well and Measure for Measure 4. Hamlet 5. Othello 6. King Lear 7. Macbeth 8. The Roman Plays: Julius Caesar, Antony and Cleopatra and ...
... Henry VI and Richard III, is Shakespeare's earliest work. Shakespeare entered a theatre dominated by Tarlton and the Queen's Men in the decade 1583 to 1592, in which the chronicle history play seems to have been the dominant and most ...
... Henry VI, an unambitious and patient journeyman learning his craft. He then 'laid such models aside and followed the promptings of his own spirit upon the lurid theme of Richard III'.1 More recent commentators have shown that the plays ...
... Henry VI generates to introduce Richard and prepare us for the part he is to play in the later play. At the end of the second part of Henry VI, Richard's first statement proclaims his disposition: Priests pray for enemies, but princes ...
... Henry, he refers again to the physical deformity with which Shakespeare will make such play in the later work, and puts himself unequivocally before the audience the Machiavellian figure: as Then since the heavens have shaped my body so ...
Inhalt
Troilus and Cressida Alls Well that Ends Well | |
Hamlet | |
Othello | |
King Lear | |
Macbeth | |
Julius Caesar Antony and Cleopatra | |
The Late Romances | |
Bibliography | |