Shakespeare's Tragic SkepticismYale University Press, 1. 1. 2002 - 283 strán (strany) 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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Strana 3
... called honest by those , like Othello , who trust him to tell the truth , and the term grows more and more ironic as it is applied to a man who lies continually and whose true feelings , if he has any , are disguised rather than evident ...
... called honest by those , like Othello , who trust him to tell the truth , and the term grows more and more ironic as it is applied to a man who lies continually and whose true feelings , if he has any , are disguised rather than evident ...
Strana 9
... called the idea that " all the evils wherewith the stars threaten us do proceed from the order of nature " a " phantasy , " a way of pleading , wrongly , " that our sins are not the cause . " But the mystery of human causes often seems ...
... called the idea that " all the evils wherewith the stars threaten us do proceed from the order of nature " a " phantasy , " a way of pleading , wrongly , " that our sins are not the cause . " But the mystery of human causes often seems ...
Strana 12
... called itself an " apologie " for Sebond , he himself went beyond his master in radical skepticism . Mon- taigne argued that reason was only an available aid to faith , as God willed it to be . " It is faith onely , which lively and ...
... called itself an " apologie " for Sebond , he himself went beyond his master in radical skepticism . Mon- taigne argued that reason was only an available aid to faith , as God willed it to be . " It is faith onely , which lively and ...
Strana 14
... called Pyrrhonism , after Pyr- rho , the third - century B.c. Greek who taught that nothing can be known . Science was about to open an era of self - confident dis- covery of natural causes , to suggest that not only could the motion of ...
... called Pyrrhonism , after Pyr- rho , the third - century B.c. Greek who taught that nothing can be known . Science was about to open an era of self - confident dis- covery of natural causes , to suggest that not only could the motion of ...
Strana 20
... called a " source . " Many of the parallels that have been pointed out are stock proverbial statements or could have come from writers other than Montaigne , and can be lined up in another list of parallels with someone else . The ...
... called a " source . " Many of the parallels that have been pointed out are stock proverbial statements or could have come from writers other than Montaigne , and can be lined up in another list of parallels with someone else . The ...
Obsah
Hamlet Revenge | 29 |
Othellos Jealousy | 80 |
Unaccommodated Lear | 138 |
Macbeths Deeds | 191 |
The Roman Frame | 241 |
Selected Bibliography | 279 |
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action actor ambiguous ambition Antony and Cleopatra Antony's appears asks audience Banquo blood Brabantio Brutus called Cassio cause character 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 Holinshed 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 Roman 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