Shakespeare's Tragic SkepticismYale University Press, 2008年10月1日 - 304 頁 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. |
搜尋書籍內容
第 1 到 5 筆結果,共 53 筆
第 頁
... scene in which thought and life interacted and reflected one another, there hung a doubt of the human capacity to perceive life truly. This doubt is expressed with a curious precision in Othello but could also have been heard in ...
... scene in which thought and life interacted and reflected one another, there hung a doubt of the human capacity to perceive life truly. This doubt is expressed with a curious precision in Othello but could also have been heard in ...
第 頁
... scene. But this mood is temporary. Ahead lie all the deaths, none of which is the consequence of anydeliberated human plan—the deaths not only of Gertrude and Claudius, but of Polonius and Laertes and Ophelia, and of Hamlet himself ...
... scene. But this mood is temporary. Ahead lie all the deaths, none of which is the consequence of anydeliberated human plan—the deaths not only of Gertrude and Claudius, but of Polonius and Laertes and Ophelia, and of Hamlet himself ...
第 頁
... scene in Macbeth. These plays that are the product of one of the greatest of individual imaginations are less personal than we have supposed. The master playwright was probably more accommodating to the ideas Introduction.
... scene in Macbeth. These plays that are the product of one of the greatest of individual imaginations are less personal than we have supposed. The master playwright was probably more accommodating to the ideas Introduction.
第 頁
... scene of Shakespeare's time but gives judicious advice to actors and can act creditably himself and write a dramatic script or part of one; he loves to see a play put on, quite aside from its possible use as a conscience-catcher. It is ...
... scene of Shakespeare's time but gives judicious advice to actors and can act creditably himself and write a dramatic script or part of one; he loves to see a play put on, quite aside from its possible use as a conscience-catcher. It is ...
第 頁
... scene, or part— are frequent. But Hamlet is particularly rich in such language, as has often been noted.What has not been sufficiently discerned is that Hamlet's theater interest—and all the hints and references to the theatrical in the ...
... scene, or part— are frequent. But Hamlet is particularly rich in such language, as has often been noted.What has not been sufficiently discerned is that Hamlet's theater interest—and all the hints and references to the theatrical in the ...
其他版本 - 查看全部
常見字詞
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