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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... Iago. of In theatrical terms, the most effective use made of the stage concept of the Machiavellian villain is Richard III. And, as usual when Shakespeare picks up something which lies conveniently to hand, he makes more of it than ...
... Iago-like asides from Richard's grim wit. So wise so young, they say, do ne'er live long. he says as the rest of the court murmurs approval over young Edward's brightness. When the boy evokes memories of Henry V with a determination 'to ...
... Iago to probe an insecure love, not only are Romeo's posturings suddenly transformed into a more genuine emotion, but Mercutio is banished from the play. As Henry V's design will not accommodate Falstaff, so Mercutio is dismissed before ...
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Inhalt
Troilus and Cressida Alls Well that Ends Well | |
Hamlet | |
Othello | |
King Lear | |
Macbeth | |
Julius Caesar Antony and Cleopatra | |
The Late Romances | |
Bibliography | |