Human Conflict in ShakespeareRoutledge, 30 mars 2021 - 340 sidor 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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... play starts its stage life in a primary situation, which includes other characters; this character's original nature and situation are postulated, as it were, by the dramatist early in the play; thereafter, the character's 'given ...
... play. To examine this process is my chief purpose in Part 3, as also to show that sometimes it does not happen completely; for example, the first half of Measure for Measure suggests and portrays complexities of human stress which are ...
... plays, affecting his technical methods and media, his conception of his characters and their acts and relationships ... play consciously in order to show the workings of human conflict as such; I am writing of the real Shakespeare-the ...
... play by Shakespeare must, in production, be 'reinterpreted' to a modern audience. Such 're-interpretation' frequently appears to involve using the Elizabethan text largely as a basis for alterations, and modifying the nature of the ...
... plays. Following the plays of the religious cycles, there arose what was also a religious play, but one in which there was a more direct moral teaching. The 'morality plays', unlike the earlier drama, did not use ready-made, known ...