Shakespeare in Company

Es, Bart van

doi:10.1093/acprof:oso/9780199569311.001.0001

Cited by 72 publications

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“…as clichés: they are precisely the means through which he distances himself from artifice. 86 The idea that Senecan form is modular and used in an "automatized" manner in Shakespearean juvenilia is predicated on the notion that there is a radical difference between imitatively classical Senecan form and the authentically Shakespearean voice that later emerges. The structure of this argument is surprisingly reminiscent of Schlegel's Lectures on Dramatic Art and Literature: the rote nature of Senecan form results in automatized drama and characters who are merely misshapen puppets.…”

Section: Inwardness Characterization and The Affordances Of Senecan D...mentioning

confidence: 99%

Shakespeare and Senecan Tragedy

Perry

2020

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Shakespeare's tragic characters have often been seen as forerunners of modern personhood. It has been assumed that Shakespeare was able to invent such lifelike figures in part because of his freedom from the restrictions of classical form. Curtis Perry instead argues that characters such as Hamlet and King Lear have seemed modern to us in part because they are so robustly connected to the tradition of Senecan tragedy. Resituating Shakespearean tragedy in this way - as backward looking as well as forward looking - makes it possible to recover a crucial political dimension. Shakespeare saw Seneca as a representative voice from post-republican Rome: in plays such as Coriolanus and Othello he uses Senecan modes of characterization to explore questions of identity in relation to failures of republican community. This study has important implications for the way we understand character, community, and alterity in early modern drama.

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Section: Inwardness Characterization and The Affordances Of Senecan D...mentioning

confidence: 99%