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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... 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 eventual resolvers of conflict are those without conventional authority ...
... 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.
J. M. Gregson. that the speech turns abruptly away from the general and into the intensely personal, as Shakespeare sets about giving convincing life to his Machiavellian villain: But I, that am not shaped for sportive tricks, Nor made ...
... turns from his opening soliloquy to an elaborately paraded innocence before the Clarence he is sending to his doom. Looking after him as he is borne away to the Tower and his death, Richard comments to us with a whimsical ...
... turns to us in wide-eyed psychopathy: None are for me That look into me with considerate eyes: High-reaching Buckingham grows circumspect. It is the attitude of Lear as he plays the tyrant before his assembled court: but madness must ...
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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 | |