Human Conflict in ShakespeareRoutledge, 30 mrt 2021 - 340 pagina's Conflict is at the heart of much of Shakespeare’s drama. Frequently there is an overt setting of violence, as in Macbeth, but, more significantly there is often ‘interior’ conflict. Many of Shakespeare’s most striking and important characters – Hamlet and Othello are good examples – are at war with themselves. Originally published in 1987, S. C. Boorman makes this ‘warfare of our nature’ the central theme of his stimulating approach to Shakespeare. He points to the moral context within which Shakespeare wrote, in part comprising earlier notions of human nature, in part the new tentative perceptions of his own age. Boorman shows Shakespeare’s great skill in developing the traditional ideas of proper conduct to show the tensions these ideas produce in real life. In consequence, Shakespeare’s characters are not the clear-cut figures of earlier drama, rehearsing the set speeches of their moral types – they are so often complex and doubting, deeply disturbed by their discordant natures. The great merit of this fine book is that it displays the ways in which Shakespeare conjured up living beings of flesh and blood, making his plays as full of dramatic power and appeal for modern audiences as for those of his own day. In short, this book presents a human approach to Shakespeare, one which stresses that truth of mankind’s inner conflict which links virtually all his plays. |
Vanuit het boek
Resultaten 1-5 van 68
... dramatist's awareness of Man's struggles, expressed in the play for the audience to recognise and share with him. Thus the dramatist's text, words-in-combination conceived within the special added dimension of physical interpretation ...
... dramatist's ways of presenting its effects, and that this becomes apparent only if the plays are constantly considered in relation to other plays in the canon rather than in isolation; an instance is the variety of comic and serious ...
... dramatist, and they will be seen to be active throughout his plays, affecting his technical methods and media, his conception of his characters and their acts and relationships, and finally his creation of human truth in the theatre and ...
... dramatists of the period (like the writers of earlier 'moral drama') gave him many opportunities to do so. But he might accept the gravity of his divided state, and with the help of religion strive to master his passions by reason ...
... dramatist of his age. Nothing, perhaps, has so falsified our modern understanding of his plays as a tendency, at times, to see our greatest dramatist as a lonely phenomenon located uneasily in a distant and, to us, somewhat alien period ...