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. |
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... irrational forces beyond the complete control of reason; that, indeed, completely rational judgements (if such were possible) would mark a man as divorced from humanity, perhaps less than human.19. (f). Reason-love. (man. and. woman). The ...
... irrational. Thus an Elizabethan found himself in the midst of some most urgent and unavoidable dilemmas, subject to the conflicting pressures of reason and lust, reason and love, and lust and love. Of all Man's inner conflicts, these ...
... irrational desires of the beast, her very remoteness from reason could give her, in Man's eyes, a special and even awesome quality, and so love could take on something of a supernatural force, an essential basis for that 'love-worship ...
... irrational by enjoying the portrayal of other men's failure to control it; here again the drama and stories of the period helped him. There were modes of escape in accepting the contemporary attitudes to 'the wicked', to usurers or ...
... irrational licence, in themselves, and, being human, feared it even more in those around them, whose unthinking passions they saw as a threat to all, socially and nationally. The distrust of the mob is an Elizabethan commonplace. 46 The ...