Shame in ShakespeareRoutledge, 2012 M09 10 - 288 pages One of the most intense and painful of our human passions, shame is typically seen in contemporary culture as a disability or a disease to be cured. Shakespeare's ultimately positive portrayal of the emotion challenges this view. Drawing on philosophers and theorists of shame, Shame in Shakespeare analyses the shame and humiliation suffered by the tragic hero, providing not only a new approach to Shakespeare but a committed and provocative argument for reclaiming shame. The volume provides: · an account of previous traditions of shame and of the Renaissance context · a thematic map of the rich manifestations of both masculine and feminine shame in Shakespeare · detailed readings of Hamlet, Othello, and King Lear · an analysis of the limitations of Roman shame in Antony and Cleopatra and Coriolanus · a polemical discussion of the fortunes of shame in modern literature after Shakespeare. The book presents a Shakespearean vision of shame as the way to the world outside the self. It establishes the continued vitality and relevance of Shakespeare and offers a fresh and exciting way of seeing his tragedies. |
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Page 26
... killed in battle by Hector in Book 18 , he is seized by a greater shame . He feels that he has ' proved a broken reed to Patroclus's and all the other Greek casualties , ' an idle burden on the earth ' ( Homer 1988 : 339 ) . In a fit of ...
... killed in battle by Hector in Book 18 , he is seized by a greater shame . He feels that he has ' proved a broken reed to Patroclus's and all the other Greek casualties , ' an idle burden on the earth ' ( Homer 1988 : 339 ) . In a fit of ...
Page 27
... killed his father Laius and married his mother Jocasta , and that thus it is he who has brought pestilence on his kingdom . His shame generates a feeling of horrible nakedness : ' Alas ! All out ! All known , no more concealment ! / O ...
... killed his father Laius and married his mother Jocasta , and that thus it is he who has brought pestilence on his kingdom . His shame generates a feeling of horrible nakedness : ' Alas ! All out ! All known , no more concealment ! / O ...
Page 28
... killed them , only to be told that he has done it himself . He is overcome with shame ; when , suddenly , Theseus , whom he once rescued from the underworld , enters , we witness some extraordinary theatre . Before our eyes , the great ...
... killed them , only to be told that he has done it himself . He is overcome with shame ; when , suddenly , Theseus , whom he once rescued from the underworld , enters , we witness some extraordinary theatre . Before our eyes , the great ...
Page 42
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Contents
1 | |
24 | |
Shame in the Renaissance | 41 |
Shame in Shakespeare | 74 |
Hamlet | 109 |
Othello | 136 |
King Lear | 173 |
Antony and Cleopatra and Coriolanus | 208 |
Conclusion | 224 |
Notes | 247 |
References | 255 |
Index | 265 |
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Common terms and phrases
accept action already Antony audience becomes beginning blush body calls Cassio chapter Christian classical Cleopatra Cordelia Coriolanus corruption critics culture daughter death deformity degradation Desdemona desire disgrace effect ethical example experience exposed exposure expression eyes face fall father fear feels figure finds Fool gives guilt Hamlet hand heart hero honour human Iago identity killing kind King Lear later Lear's less lines literature live look lost Measure moral mother nature never notes once original Othello pain particular partly perhaps person play presents puts reading reason recognises religious Renaissance René Girard represents revealed revenge Richard says scene seems seen sense sense of shame sexual Shakespeare shame shamelessness Sonnet soul speak spiritual stage suffering suggests takes tells theatre thing thou thought tion tragedy true truth turn ultimately wife worldly writes