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 60
... king ? Kings are presumably above such subjection , but since Richard is not , he does not feel like a king . He is once again glorifying kingship , but because his claims are not being honored , he feels unworthy of the title ...
... king ? Kings are presumably above such subjection , but since Richard is not , he does not feel like a king . He is once again glorifying kingship , but because his claims are not being honored , he feels unworthy of the title ...
Page 61
... King do now ? Must he submit ? The King shall do it . Must he be depos'd ? The King shall be contented . Must he lose The name of king ? A God's name , let it go ! ( 3.3 ) This is not a response that Bolingbroke had expected . Northum ...
... King do now ? Must he submit ? The King shall do it . Must he be depos'd ? The King shall be contented . Must he lose The name of king ? A God's name , let it go ! ( 3.3 ) This is not a response that Bolingbroke had expected . Northum ...
Page 74
... King Lear , the comic in Edgar's story and the tragic in Cordelia's . The reader or audience always knows the true worth of the pro- tagonist from the start because of the author's rhetoric , which often includes the use of direct ...
... King Lear , the comic in Edgar's story and the tragic in Cordelia's . The reader or audience always knows the true worth of the pro- tagonist from the start because of the author's rhetoric , which often includes the use of direct ...
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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