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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... stress within us will be extreme, and our attempts to ease it will be full of pain and even desperation; sometimes the incongruity will be less urgent and disruptive, and we can then accept it, even happily. As any study of them shows ...
... stress, the fullest sense of the sadness and delight, the terror and the beauty, of being alive. In this process, the actors are representatives of the audience (which exists both as individuals and as a unified body), and also living ...
... stress as he shows it working within the 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 ...
... stress the fact that such forms of social human incongruity (matters, for example, of disorder-order or public man—private man) are always presented dramatically by Shakespeare through personal struggles, on which the primary emphasis ...
... stress which an Elizabethan experienced. Indeed, the primary 'soul—body' incongruity which we have examined had wider and more disturbing implications than those which we have so far seen. The Christian religion, beginning with the ...