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
... speech , however , he reverts to his former con- ception of kingship . Since he is " subjected " to " want , " " grief , " and the need of " friends , " how can anyone say to him that he is a king ? Kings are presumably above such ...
... speech , however , he reverts to his former con- ception of kingship . Since he is " subjected " to " want , " " grief , " and the need of " friends , " how can anyone say to him that he is a king ? Kings are presumably above such ...
Page 75
... speeches of whether Hal will be a lawless king and immediately provides us with evidence that he will not . In case we have missed the point , Hal's soliloquy should leave no doubt . What this speech tells us about Hal's character is a ...
... speeches of whether Hal will be a lawless king and immediately provides us with evidence that he will not . In case we have missed the point , Hal's soliloquy should leave no doubt . What this speech tells us about Hal's character is a ...
Page 78
... speech I have just quoted is a clear signal to a sensitive audience that , despite appearances to the contrary , Hal is a loving son . As he did in part 1 , Shakespeare tends to accompany every accusation against Hal or anxiety about ...
... speech I have just quoted is a clear signal to a sensitive audience that , despite appearances to the contrary , Hal is a loving son . As he did in part 1 , Shakespeare tends to accompany every accusation against Hal or anxiety about ...
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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