Narcissism and Metadrama in Richard II Over the last thirty years, Shakespeare criticism has demonstrated a growing awareness of the self-reflexive or metadramatic elements in his works. Lionel Abel’s 1963 study, Metatheatre: A New View of Dramatic Form, provided perhaps the first significant analysis of the ways in which Shakespeare thematizes theatricality, in the broadest sense of the term, in his tragedies, comedies, and histories. In his discussion of Hamlet, he makes the observation—perhaps
The Invention of the Human In his recent book, Shakespeare: The Invention of the Human (1998), Harold Bloom argues that Shakespeare’s characters provide the full measure of his continuing legacy. Shakespeare, Bloom maintains, created self-conscious characters who breathe life. Shakespeare’s characters are so alive, possess such "interiority," that they catch themselves looking at themselves. This quality is the essence of becoming human—to know we know, to be aware we are aware, to sense our own
particularly well-enjoyed by Voltaire. Here he enjoyed the company of such grates as Swift and Thomson, and befriended Alexander Pope. Becoming proficient in English, Voltaire read Shakespeare, Bacon, Milton, Newton, and Locke. To test his English literary ability, Voltaire published an English version of La Henriade (The Henriad), an eloquent defense of religions toleration, and dedicated it to the Queen.
Honour within the Elizabethan era primarily stood for the reputation of a person, and it offered respect and admiration. Shakespeare undoubtedly chose to position the responder to depict his own perception on honour due to the prevalence of it throughout his political landscape and its impacts on everyday life. The notion of honour, is first established within the guilt-ridden
Comedy in I Henry IV and II Henry IV In I Henry IV and II Henry IV, William Shakespeare brings together drama and comedy to create two of the most compelling history plays ever written. Many of Shakespeare's other works are nearly absolute in their adherence to either the comic or tragic traditions, but in the two Henry IV plays Shakespeare combines comedy and drama in ways that seem to bring a certain realism to his characters, and thus the plays. The present essay is an examination of the
Prince Hal in Shakespeare's Henriad The question that Shakespeare raises throughout the series of Henry IV, Part I, Henry IV, Part II, and Henry V is that of whether Prince Hal (eventually King Henry V), is a true manifestation of an ideal ruler, and whether he is a rightful heir to his father’s ill-begotten throne. England is without a true king, being run by a ruler without the right of divine providence on his side– altogether, a very difficult situation for a young, inexperienced, and slightly