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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... Measure for Measure 4. Hamlet 5. Othello 6. King Lear 7. Macbeth 8. The Roman Plays: Julius Caesar, Antony and Cleopatra and Coriolanus 9. The Late Romances Bibliography Index PREFACE When I first read Richard II many years ago,
... Macbeth and Banquo will be permitted soliloquies alongside the agonised central figure, but Richard's bond with the audience here is uncomplicated and superbly effective for the more limited theme it accommodates. Alongside this ...
... Macbeth — but it gives opportunity for some 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 ...
... Macbeth, that other high-reaching murderer who finds the forbidden fruit rotting in his mouth. Superficially, their careers as royal murderers and usurpers and their eventual downfalls have much in common. Yet while Macbeth is ...
... of night, 'Thou sober-suited matron all in black,' is a conceit plucked from outside the play, whereas Lady Macbeth pins herself in her nightmare world when she invokes night: Come thick night, And pall thee in the dunnest smoke.
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Troilus and Cressida Alls Well that Ends Well | |
Hamlet | |
Othello | |
King Lear | |
Macbeth | |
Julius Caesar Antony and Cleopatra | |
The Late Romances | |
Bibliography | |