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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... successful public man. Only in the early and middle comedies does he turn aside from the exploration of the theme, though even in plays like The Merchant of Venice and Twelfth Night the most radiant representatives of good and the ...
... success; Thomas Nashe records the reaction in 1592: How it would have joyed brave Talbot (the terror of the French) to think that after he had lain two hundred years in his tomb, he should triumph again on the stage and have his bones ...
... success, and one can see the attraction for Elizabethan dramatists of the Machiavellian villain, growing out of, but less predictable than, the old Vice of the moralities. Shakespeare achieves a series of stunning theatrical effects by ...
... But 'twas thy heavenly face that set me on. His delight in the success of his virtuoso performance is expressed with his usual vigorous irony: I do mistake my person all this while: Upon my life, she finds, although I cannot, Myself to.
... success and scorn for his victims. Shine out, fair sun, till I have bought a glass, That I may see my shadow as I pass. Hazlitt dismissed the scene which prepares the murder of the princes (Act III Scene i) as altogether unworthy of ...
Inhalt
Troilus and Cressida Alls Well that Ends Well | |
Hamlet | |
Othello | |
King Lear | |
Macbeth | |
Julius Caesar Antony and Cleopatra | |
The Late Romances | |
Bibliography | |