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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... soul. Marlowe will build his Edward II around such a villain in Mortimer; later Shakespeare will develop the concept with his full powers language and psychological insight in Iago. of In theatrical terms, the most effective use made of ...
... souls of fearful adversaries, He capers nimbly in a lady's chamber To the lascivious pleasing of a lute. So far the verse, like the material, is measured, incantatory: if the actor cares to suggest an irony in adjectives such as ...
... soul to heaven, If heaven will take the present at our hands. It is the design with which we become familiar as the play proceeds: Richard mouthing righteousness with 'goblin solemnity' 8 in public, then hugging himself in a private ...
... soul leads to a confusion of pronouns as he wavers between the royal plural and a more individual address: Such neighbour nearness to our sacred blood Should nothing privilege him nor partialise The unstooping firmness of my upright soul ...
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Inhalt
Troilus and Cressida Alls Well that Ends Well | |
Hamlet | |
Othello | |
King Lear | |
Macbeth | |
Julius Caesar Antony and Cleopatra | |
The Late Romances | |
Bibliography | |