Shakespeare's Tragic SkepticismYale University Press, 01/10/2008 - 304 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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... ; and David Beving- ton , editor of the 1990 New Cambridge Antony and Cleopatra . In addition I have consulted other modern editions , like Harold Jenkins's 1982 Arden Hamlet , Philip Edwards's 1985 New Cam- Preface XV.
... ; and David Beving- ton , editor of the 1990 New Cambridge Antony and Cleopatra . In addition I have consulted other modern editions , like Harold Jenkins's 1982 Arden Hamlet , Philip Edwards's 1985 New Cam- Preface XV.
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... Cleopatra . To the anno- tations of these editors I have resorted at numerous points for enlightenment in the interpretation of Shakespeare's language , though to none of them should my own sometimes dissenting readings be attributed ...
... Cleopatra . To the anno- tations of these editors I have resorted at numerous points for enlightenment in the interpretation of Shakespeare's language , though to none of them should my own sometimes dissenting readings be attributed ...
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... Cleopatra , based on Plutarch , had been published in 1594 , and Shakespeare took hints from it when he wrote his Antony and Cleopatra in 1606 ; Daniel then promptly revived and improved his own older play by reciprocal imitation of ...
... Cleopatra , based on Plutarch , had been published in 1594 , and Shakespeare took hints from it when he wrote his Antony and Cleopatra in 1606 ; Daniel then promptly revived and improved his own older play by reciprocal imitation of ...
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... Cleopatra . This play may have been completed shortly after Macbeth ; it bears signs of Shakespeare's retrospect of all the previous tragedies , including Julius Caesar , which had not only pro- duced a Roman sequel but had also ...
... Cleopatra . This play may have been completed shortly after Macbeth ; it bears signs of Shakespeare's retrospect of all the previous tragedies , including Julius Caesar , which had not only pro- duced a Roman sequel but had also ...
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... Cleopatra were different from the famous four was obvious . Tragic they were , but not tragic in the same way as the others . Yet still , the issues of personal destiny emerge more profoundly in this pair than in either Shakespeare's ...
... Cleopatra were different from the famous four was obvious . Tragic they were , but not tragic in the same way as the others . Yet still , the issues of personal destiny emerge more profoundly in this pair than in either Shakespeare's ...
Índice
1 | |
29 | |
2 Othellos Jealousy | 80 |
3 Unaccommodated Lear | 138 |
4 Macbeths Deeds | 191 |
The Roman Frame | 241 |
Selected Bibliography | 279 |
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Palavras e frases frequentes
action actor ambiguous ambition Antony and Cleopatra Antony's appears asks audience Banquo blood Brabantio Brutus called Cassio cause character Cinthio 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 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 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