New PDF release: Shakespeare's Tragedies: A Guide to Criticism (Blackwell
By Emma Smith
This consultant steers scholars during the serious writing on Shakespeare’s tragedies from the 16th century to the current day. courses scholars via 4 centuries of severe writing on Shakespeare’s tragedies. Covers either major early perspectives and up to date serious interventions. enormous editorial fabric hyperlinks the articles and areas them in context. Annotated feedback for extra analyzing permit scholars to enquire additional.
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Additional info for Shakespeare's Tragedies: A Guide to Criticism (Blackwell Guides to Criticism)
I, p. 78) The account of Coleridge’s lecture on Macbeth in Bristol in 1813 begins with a discussion of the witches as ‘awful beings, blend[ing] in themselves the Fates and Furies of the ancients with the sorceresses of Gothic and popular superstition’ (I, p. 269). Coleridge also draws a topical parallel, ‘a comparison between the characters of Macbeth and Bonaparte – both tyrants, both indifferent to means, however barbarous, to attain their ends; and he hoped the fate of the latter would be like the former, in failing amidst a host of foes, which his cruelty and injustice had roused against him’ (I, p.
In a modern tragedy it is the individual character (and for such a character it is a matter of accident whether he chooses that which on its own account is right, or whether he is led into wrong and crime) who makes his decisions, either following his personal desires and needs or responding to purely external influences. (LeWinter, 1970, p. 81) Hegel develops his idea of dialectical tragedy, arguing that: It is precisely Shakespeare who, as a contrast to that exposition of vacillating and essentially self-divided characters, supplies us with the finest examples of essentially stable and consequential characters, who go to their doom precisely in virtue of this tenacious hold upon themselves and their ends.
104). Lady Macbeth is ‘a great bad woman, whom we hate, but whom we fear more than we hate’, and her ‘solid, substantial, flesh and blood display of passion exhibit[s] a striking contrast to the cold, abstracted, gratuitous malignity of the witches’ (pp. 100–1). 1): ‘Power was seated on her brow, passion emanated from her breast as from a shrine; she was tragedy personified’ (p. 102), although he argues, in common with many contemporary critics who preferred plays in the study to those on the stage, that ‘we can conceive of no-one to play Macbeth properly, or to look like a man that had encountered the Weïrd Sisters’ (p.
Shakespeare's Tragedies: A Guide to Criticism (Blackwell Guides to Criticism) by Emma Smith