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. |
From inside the book
Results 1-3 of 86
Page 114
... feel if he should fail . That he actually is afraid is indicated by his yielding to Calphurnia when she provides him with a face - saving device : " Call it my fear / That keeps you in the house and not your own . " Caesar's mind is ...
... feel if he should fail . That he actually is afraid is indicated by his yielding to Calphurnia when she provides him with a face - saving device : " Call it my fear / That keeps you in the house and not your own . " Caesar's mind is ...
Page 176
... feel toward himself , and that his mother would feel toward him , should he behave as they are doing . His verbal assaults at once satisfy his need for justice by giving them what they deserve and protect his idealized image by assuring ...
... feel toward himself , and that his mother would feel toward him , should he behave as they are doing . His verbal assaults at once satisfy his need for justice by giving them what they deserve and protect his idealized image by assuring ...
Page 185
... feel thy pride than fear / Thy dangerous stout- ness . " There is some criticism of his pride , which she says he did not get from her , but more fellow feeling , and a pride in herself for not being afraid of the consequences ...
... feel thy pride than fear / Thy dangerous stout- ness . " There is some criticism of his pride , which she says he did not get from her , but more fellow feeling , and a pride in herself for not being afraid of the consequences ...
Other editions - View all
Common terms and phrases
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