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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... murder while I smile, And cry 'Content' to that which grieves my heart, And wet my cheeks with artificial tears, And frame my face to all occasions ... I can add colours to the chameleon, Change shapes with Proteus with advantages, And ...
... murders saintly, ineffective Henry, he refers again to the physical deformity with which Shakespeare will make such play in the later work, and puts himself unequivocally before the audience the Machiavellian figure: as Then since the ...
... murder of the princes, compares himself to 'the formal Vice, Iniquity'. Charles Lamb pointed out long ago that Richard should be regarded as a bogey-man or fairy-story villain. Yet if the play draws much upon existing convention, it is ...
... murder of the princes (Act III Scene i) as altogether unworthy of Shakespeare. Yet it is wholly of a piece with the play's design, just as the murder is artistically logical as the culminating outrage in Richard's escalating series of ...
... murder of the princes. Coleridge, commenting on Richard's delight in the cerebral challenges of his villainy, contrasted the two great opportunists of the history plays: 'In Richard III the pride of intellect makes use of ambition as ...
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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 | |