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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... Well and 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,
... Richard and Bolingbroke, but by the way in which Shakespeare built all the dramatic tension of the play's great scenes around this conflict. Richard, it seemed, indulged a whimsical individuality in a disastrous kingship, whereas ...
... Richard III and Romeo and Juliet, he would have been accounted a major writer, and these perhaps the most interesting products of the teeming Elizabethan play-house. It is a measure of his later achievement that even these popular works ...
... Richard reels hopelessly through the battle. Chambers was right in noting a new quality in Richard III, but this stems rather from the author's realisation of the dramatic possibilities of his central figure than from a switch in ...
... Richard III, there is ample evidence that the play was conceived as the culmination of this first tetralogy of history plays. Shakespeare interrupts even the rather lumbering impetus which Henry VI generates to introduce Richard and ...
Inhalt
Troilus and Cressida Alls Well that Ends Well | |
Hamlet | |
Othello | |
King Lear | |
Macbeth | |
Julius Caesar Antony and Cleopatra | |
The Late Romances | |
Bibliography | |