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. |
Im Buch
Ergebnisse 1-5 von 35
... contrast between Richard's private face and his public effects. At the other end of his work, Shakespeare builds Antony and Cleopatra entirely around the conflict between private feeling and public responsibility, but by this Preface.
... contrast between private thought and public bearing. The contrast is crude and straightforward: the concept of the Machiavellian villain which Shakespeare found ready-made in his theatre depends for interest entirely upon this kind of ...
... contrast. The play is the first great example of the parallel development of different aspects of his mastery, with each making the others more effective. In his finest work, the strands will be interwoven to supreme effect. In Richard ...
... contrast: having discoverd its most straightforward use in Richard III, Shakespeare does not employ it much until he comes to treat the promising material of the second tetralogy of history plays a few years later. The comedies ...
... contrast which looks forward to the achievements to come. As Mercutio looks at his death-wound, Shakespeare knows now the understatement, the simplicity which cuts through even a brave, nervous quibble to make a man's departure linger ...
Inhalt
Troilus and Cressida Alls Well that Ends Well | |
Hamlet | |
Othello | |
King Lear | |
Macbeth | |
Julius Caesar Antony and Cleopatra | |
The Late Romances | |
Bibliography | |