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 34
... play's great scenes around this conflict. Richard, it seemed, indulged a whimsical individuality in a disastrous kingship, whereas Bolingbroke progressed by subduing individual, spontaneous reaction until it disappeared entirely beneath ...
... play, which is easily Shakespeare's greatest achievement to date. W. Clemen shows how Shakespeare constantly ... play's the thing Wherein I'll catch the conscience of the King. The opening of Richard III shows Shakespeare at once ...
... play's design, just as the murder is artistically logical as the culminating outrage in Richard's escalating series of crimes. The boy Prince of Wales is shown as innocent, winning and pathetically vulnerable in his last appearance. It ...
... play and the interplay between his two faces the source of all its best dramatic effects, his centrality is also the source of the play's limitations. Colley Cibber's 1700 version of Richard III, concentrating exclusively upon Richard ...
... play's construction around the two faces of its central character. The passage between Richard and Queen Elizabeth in Act IV Scene iv, in which he demands her daughter as a bride, is no more than a repeat of his earlier outrageous ...
Inhalt
Troilus and Cressida Alls Well that Ends Well | |
Hamlet | |
Othello | |
King Lear | |
Macbeth | |
Julius Caesar Antony and Cleopatra | |
The Late Romances | |
Bibliography | |