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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... attempt at peacemaking reminds us that despite his self-conscious wordiness later in the play, Richard can be as curt and elliptical as anyone, as he shows throughout this scene. His folly is to consider sharp intellect a substitute for ...
... attempt to dissemble private feeling with any of the public shows which he needs to make. He shows indeed a deliberate contempt for such considerations. When the patient York is driven to remind him of the implications of his seizure of ...
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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 | |