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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... speeches and certain stage effects in Richard III, there is ample evidence that the play was conceived as the culmination of this first tetralogy of history plays. Shakespeare interrupts even the rather lumbering impetus which Henry VI ...
... speech of the play, which is easily Shakespeare's greatest achievement to date. W. Clemen shows how Shakespeare constantly discovers new possibilities inherent in the soliloquy. 3 Before and even well after Shakespeare, the soliloquy is ...
... of what 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.
... speech's first section, the verse springs away as Richard comes forward to reveal to the audience the full venom of that private face that he will keep continually before them, even as he continually dissimulates to those on stage. The ...
... speeches of recrimination and antiphonal laments are no match for Richard's energy and irony. Formal structure and formal ... speech of the play. He uses the connection with the Vice of the morality plays to give Richard that vigorous ...
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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 | |