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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... scene by scene in compiling Henry VI, an unambitious and patient journeyman learning his craft. He then 'laid such models aside and followed the promptings of his own spirit upon the lurid theme of Richard III'.1 More recent ...
... scene which prepares the 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 ...
... scene is given a dramatic life which remains perennially effective. It provided one of the most memorable moments of Olivier's film of Richard III. In the delicious scenes in which Richard contrives his crowning, there is a secondary ...
... Scene iv, in which he demands her daughter as a bride, is no more than a repeat of his earlier outrageous performance in wooing Anne. Because it is a repetition and because the wooing is conducted at second hand, the scene is much less ...
... scene with the terse 'Most subject is the fattest soil to weeds' with which the central symbol of this scene is dismissed in 2 Henry IV. Again, there is much slack writing in the fifth act of the play. We need to look no further for ...
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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 | |