Harold Bloom. New York: Chelsea House, 1988, 21-34. Bloom, Harold, ed. Introduction. Modern Critical Interpretations: William Shakespeare's Antony and Cleopatra.
"Clue #7: Revenge Tragedy". Writing Assignment #7: The Question of Revenge in Shakespeare's Hamlet. By Hannusch, Brent. 1999.
A Collectiion of Critical Essays. Alfred Harbage, ed. Englewwod Cliffs, NJ: Prentice-Hall, Inc., 1964. Lamb, Charles. On the Tragedies of Shakespeare.
An excellent example of such a tactic is his play, A Tempest, which is a revision of William Shakespeare's The Tempest. Both Shakespeare and Cesaire accentuate the greed of Europeans in their plays. However, Cesaire is more obvious in his approach to exposing it. A comparison of the two plays demonstrates that Cesaire's version, written in the late 1960's, is written as a confrontation of Shakespeare's play. He is attempting to comment on the corruption of Colonialism and the European domination of the New World through such strategies as making seemingly minor changes, switching the main character role, and altering the storyline itself.
New York: Chelsea House Publishers, 1988. ---. Shakespeare: The Invention of the Human. New York: Riverhead Books, 1998. Kittredge, George Lyman.
The Tempest is not one of these works. This story realizes that it is impossible to have the good aspect of human nature without the bad. Caliban helps the reader realize that the difference between good and bad people is the way in which the hidden dark side manifests itself to the outside world. Ostensibly, The Tempest is a play based around Prospero: his power to punish versus his power to forgive. ?Many scholars believe that this is a semi-autobiographical work, written towards the end of Shakespeare's literary career?
The Irony Depicted in Shakespeare's Henry V As Norman Rabkin has observed, Henry V is a play which organizes critics into "rival camps" of interpretation (35). It can be seen as a play that is ambiguous; a play that exposes the playwright's own indecision; a play that aggressively takes sides in favour of nationalistic fervour which Shakespeare himself didn't believe in (35). All of these views, writes Rabkin, are wrong since according to him the play's "ultimate power" lies in its ability to "point in two opposite directions, virtually daring us to choose one of the two opposed interpretations" (36). In fact, it is Rabkin that is wrong: not in his supposition that the play "dares" the audience to choose, but rather, that a reading of Henry V cannot simultaneously contain all of the above. Another view would be that the ambiguity, the indecision, the disbelief and the forced choice, are all part and parcel of an urgently ironic reading.
The rational mind can utilise logic and reasoning to arrange values and beliefs in an order that is credible, and therefore irrefutable to the self. Reasonable, therefore believable and irrefutable-this customised moral code is convincing, and from this conviction, the villain will not be bothered by the morality ... ... middle of paper ... ..., Inc., n. d. Fergusson, Francis. "Macbeth as the Imitation of an Action." Shakespeare: The Tragedies. A Collectiion of Critical Essays.