Character as a Subversive Force in Shakespeare: The History and Roman PlaysShakespeare's history and Roman plays are usually discussed in terms of their political themes; their leading characters are imagined human beings who must be understood in motivational terms. Analyzing these characters with the aid of modern psychology (the theories of Karen Horney), this story attempts both to make sense of inconsistencies within the plays and the controversies they have produced. |
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Page 87
... fact that it has been obscured for others by the bad company he keeps . He assures himself that he is in control of his behavior , that he has sound political reasons for what he is doing , and that his present dissipation will bring ...
... fact that it has been obscured for others by the bad company he keeps . He assures himself that he is in control of his behavior , that he has sound political reasons for what he is doing , and that his present dissipation will bring ...
Page 194
... fact that most critics respond primarily to the rhetoric while some respond primarily to the mimesis . The relatively few critics who respond to both rhetoric and mimesis tend either to find the work confusing or to develop elaborate ...
... fact that most critics respond primarily to the rhetoric while some respond primarily to the mimesis . The relatively few critics who respond to both rhetoric and mimesis tend either to find the work confusing or to develop elaborate ...
Page 206
... fact that Brutus exemplifies for him ' Rome ' and the patriarchal virtues which he so honours and so denies . It is ... fact . Throughout most of Antony and Cleopatra , we are not permitted to become wholly engaged with the protagonists ...
... fact that Brutus exemplifies for him ' Rome ' and the patriarchal virtues which he so honours and so denies . It is ... fact . Throughout most of Antony and Cleopatra , we are not permitted to become wholly engaged with the protagonists ...
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Actium aggressive Antony and Cleopatra Antony's arrogant-vindictive Aufidius bargain with fate battle battle of Agincourt behavior believe Bolingbroke Brutus Brutus's Cassius Cassius's character structure characterization claims conscience Coriolanus Coriolanus's critics crown death defeat defenses despite dream E. M. Forster Falstaff father fear feel give glorified guilt Hal's Harfleur hath Henry Henry VI Henry's honor Horney Hotspur idealized image inner conflicts interpretation Julius Caesar Karen Horney kill last two acts live Macbeth mimesis mimetic characters mimetic portrait moral mother motives murder noble once patricians perfectionistic person play's plebeians praise present Prince Hal protagonists psychological realistic reality rejection relationship response restore his pride revenge rhetoric Richard Richard III Roman plays Rome says scene search for glory seems self-effacing side self-hate sense Shake Shakespeare Shakespeare's mimetic soliloquy speech suicide tells things thou threatens three acts throne tion understand vindication virtue Volsces Volumnia wants