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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... follow. It is generally agreed the first tetralogy of history plays, comprising the three parts of Henry VI and Richard III, is Shakespeare's earliest work. Shakespeare entered a theatre dominated by Tarlton and the Queen's Men in the ...
... he knows of the rest of the play. It is in the lines which follow, couched in form and language as well as theme as a deliberate antithesis to the opening passage, that the speech turns abruptly away from the general and.
... follows Richard's failure to play consistently his royal role; his belated resumption of it with his reminder at the end of the scene that 'We were not born to sue but to command' comes too late to solve the problem on the spot. The ...
... follow are significant. The strain of Richard's public role is telling and his individuality flashes out. His reaction to the faithful Mowbray, who realises as well as Richard that his banishment is part of a political bargain the King ...
... follows, in which the dying Gaunt's warning against Richard's 'rash fierce blaze of riot' and invocation of England's glory develops an increasingly chorus-like quality. Richard, ever intelligent and ever sensitive to the power of words ...
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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 | |