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
... means to be a king . He recognizes the absurdity of his former claims , but he seems to be saying that because kings die , they have no right to " respect " or " duty . " In the remainder of the speech , however , he reverts to his ...
... means to be a king . He recognizes the absurdity of his former claims , but he seems to be saying that because kings die , they have no right to " respect " or " duty . " In the remainder of the speech , however , he reverts to his ...
Page 116
... means to be a Roman , an image that is personified by himself . To accept Caesar's rule is to be con- temptible , whereas to revolt is to be one of the " noblest - minded Romans " who , having still alive in them the spirit of their ...
... means to be a Roman , an image that is personified by himself . To accept Caesar's rule is to be con- temptible , whereas to revolt is to be one of the " noblest - minded Romans " who , having still alive in them the spirit of their ...
Page 204
... means to get what he wants— contributes greatly to his sense of weakness when his wishes are frustrated . 6. Peter Ure has offered a similar interpretation of Richard's behavior in this scene . According to Ure , Richard's suffering ...
... means to get what he wants— contributes greatly to his sense of weakness when his wishes are frustrated . 6. Peter Ure has offered a similar interpretation of Richard's behavior in this scene . According to Ure , Richard's suffering ...
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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