Shakespeare's Tragic SkepticismYale University Press, 2008 M10 1 - 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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... course, first prompted to write this study of Hamlet, Othello, King Lear, Macbeth, Julius Caesar, and Antony and Cleopatra by the realization that much previous discussion tended to confine and reduce their variousness and ...
... course, first prompted to write this study of Hamlet, Othello, King Lear, Macbeth, Julius Caesar, and Antony and Cleopatra by the realization that much previous discussion tended to confine and reduce their variousness and ...
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... course of events but can neither calculate or control it.'' Bradley understood that the fearful and mysterious qualityoftragic experience in these plays was not to be seen adequately as the operation of a benevolent moral order in which ...
... course of events but can neither calculate or control it.'' Bradley understood that the fearful and mysterious qualityoftragic experience in these plays was not to be seen adequately as the operation of a benevolent moral order in which ...
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... course, confined to the influence of books. I am proud to declare my particular gratitude to two brilliant friends who were readers of my manuscript in its early stages, Helen Vendler and Christopher Ricks. They not only offered me warm ...
... course, confined to the influence of books. I am proud to declare my particular gratitude to two brilliant friends who were readers of my manuscript in its early stages, Helen Vendler and Christopher Ricks. They not only offered me warm ...
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... In a word, a skeptic. Shakespeare, of course, the creator of Hamlet, who seems to see either man or woman not only as a quintessence of dust but also as the paragon of animals—''noble in reason, infinite in faculties, in Introduction.
... In a word, a skeptic. Shakespeare, of course, the creator of Hamlet, who seems to see either man or woman not only as a quintessence of dust but also as the paragon of animals—''noble in reason, infinite in faculties, in Introduction.
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... course, about the right expectation concerning death's aftermath, about the process of choice itself. The presence of contraries in the one man is, of course, notable in the case of Hamlet—a matter not merely of ideas but of a ...
... course, about the right expectation concerning death's aftermath, about the process of choice itself. The presence of contraries in the one man is, of course, notable in the case of Hamlet—a matter not merely of ideas but of a ...
Contenido
2 Othellos Jealousy | |
3 Unaccommodated Lear | |
4 Macbeths Deeds | |
The Roman Frame | |
Selected Bibliography | |
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Términos y frases comunes
action actor already Antony appears asks audience become beginning believe body bring Brutus Caesar called Cassio cause character Cleopatra comes continue Cordelia course crime critics daughters death deed denies Desdemona different doubt Duncan earlier effect evidence expect expressed fact faith false father feel find first follow force future ghost give Hamlet hand hear heart Holinshed human Iago Iago’s idea identity imagination Kent killed kind King Lear Lady language Lear’s lives look lost Macbeth madness meaning merely mind Montaigne murder nature never observed off once Othello perhaps play plot present reason reference relation remark reminds represented revenge role royal says scene seems seen sense Shake Shakespeare skepticism social soliloquy sometimes speaks stage story suggested tells theater things thou thought tion tragedy true truth witchcraft witches witnesses