Shakespeare's Tragic SkepticismYale University Press, 2002 M01 1 - 283 páginas Readers of Shakespeare's greatest tragedies have long noted the absence of readily explainable motivations for some of Shakespeare's greatest characters: why does Hamlet delay his revenge for so long? Why does King Lear choose to renounce his power? Why is Othello so vulnerable to Iago's malice? But while many critics have chosen to overlook these omissions or explain them away, Millicent Bell demonstrates that they are essential elements of Shakespeare's philosophy of doubt. Examining the major tragedies, Millicent Bell reveals the persistent strain of philosophical skepticism. Like his contemporary, Montaigne, Shakespeare repeatedly calls attention to the essential unknowability of our world. In a period of social, political, and religious upheaval, uncertainty hovered over matters great and small--the succession of the crown, the death of loved ones from plague, the failure of a harvest. Tumultuous social conditions raised ultimate questions for Shakespeare, Bell argues, and ultimately provoked in him a skepticism which casts shadows of existential doubt over his greatest masterpieces. |
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Página 8
... later description by Lennox and Ross of the hours that followed when the earth was " feverous and did shake , " and " By th ' clock ' tis day / And yet dark night strangles the travelling lamp " -as though there had been both earthquake ...
... later description by Lennox and Ross of the hours that followed when the earth was " feverous and did shake , " and " By th ' clock ' tis day / And yet dark night strangles the travelling lamp " -as though there had been both earthquake ...
Página 17
... later than 1605 or 1606 Shakespeare wrote King Lear , in which a number of passages echo Florio . In King Lear , besides , more than one hundred words have been counted that Shakespeare never used in his previous writing but which are ...
... later than 1605 or 1606 Shakespeare wrote King Lear , in which a number of passages echo Florio . In King Lear , besides , more than one hundred words have been counted that Shakespeare never used in his previous writing but which are ...
Página 24
... later so important for the novel - of char- acters who develop rather than unfold , and who are , as Hegel said , " free artists of themselves . " It is certainly true that we think Shake- speare's characters " real " precisely because ...
... later so important for the novel - of char- acters who develop rather than unfold , and who are , as Hegel said , " free artists of themselves . " It is certainly true that we think Shake- speare's characters " real " precisely because ...
Página 27
... later Roman play . Though their atmosphere is very different , there are passages that suggest that Shakespeare was thinking of both at once , as when Macbeth says that he fears Banquo , and observes , " My genius is rebuked , as it is ...
... later Roman play . Though their atmosphere is very different , there are passages that suggest that Shakespeare was thinking of both at once , as when Macbeth says that he fears Banquo , and observes , " My genius is rebuked , as it is ...
Página 28
... for skepticism in all the later plays , and most extravagantly in Antony and Cleopatra . And so , the Roman plays frame the four that are my central subject in this book . Hamlet , Revenge ! When , at the end of 28 Introduction.
... for skepticism in all the later plays , and most extravagantly in Antony and Cleopatra . And so , the Roman plays frame the four that are my central subject in this book . Hamlet , Revenge ! When , at the end of 28 Introduction.
Contenido
Hamlet Revenge | 29 |
Othellos Jealousy | 80 |
Unaccommodated Lear | 138 |
Macbeths Deeds | 191 |
The Roman Frame | 241 |
Selected Bibliography | 279 |
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Términos y frases comunes
action actor ambiguous ambition Antony and Cleopatra Antony's appears asks audience Banquo blood Brabantio Brutus called Cassio cause character Claudius Cordelia crime daughters death deed denies Desdemona doubt dramatic Duncan Edgar Edmund Emilia expressed faith false father feel fideism Florio Folio Fool Fortinbras fourth act ghost Gloucester Goneril Hamlet hath hear Holinshed Horatio human Iago Iago's idea identity imagination jealousy Julius Caesar Kent killed King Lear Lady Macbeth Laertes lago Lear's Macduff Machiavellian madness Malcolm marriage meaning mind Montaigne Montaigne's motive murder nature never observed Ophelia Othello philosophic skepticism play's playwright plot Plutarch Polonius prophecy Quarto reference Regan reminds revenge Roderigo role Roman royal says scene seems selfhood sense sexual Shake Shakespeare Shakespeare's play skepticism social soliloquy someone speaks speare's stage story suggested tells theater theatrical things thou thought tion tragedy tragic trial true truth witchcraft witches word
Referencias a este libro
Vanities of the Eye: Vision in Early Modern European Culture Stuart Clark Sin vista previa disponible - 2007 |
Special Section, Shakespeare and Montaigne Revisited Graham Bradshaw,T. G. Bishop,Peter Holbrook Vista previa limitada - 2006 |