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Acclaimed as a modern dramatic masterpiece, Rosencrantz & Guildenstern are Dead is the fabulously inventive tale of Hamlet as told from the worm’s-eve view of the bewildered Rosencrantz and Guildenstern, two minor characters in Shakespeare’s play. In Tom Stoppard’s best-known work, this Shakespearean Laurel and Hardy finally get a chance to take the lead role, but do so in a world where echoes of Waiting for Godot resound, where reality and illusion intermix, and where fate leads our two heroes to a tragic but inevitable end. Tom Stoppard was catapulted into the front ranks of modem playwrights overnight when Rosencrantz and Guildenstern Are Dead opened in London in 1967. Its subsequent run in New York brought it the same enthusiastic acclaim, and the play has since been performed numerous times in the major theatrical centers of the world. It has won top honors for play and playwright in a poll of London Theater critics, and in its printed form it was chosen one of the “Notable Books of 1967” by the American Library Association.
The twenty-eight essays of this collection, first published in 1962, are the work of distinguished British, Canadian, and American scholars. The essays range widely over the field of Elizabethan drama, concentrating attention on Shakespeare and Marlowe but not neglecting earlier dramatists such as Kyd and Greene or later ones such as Heywood and Massinger. Among the general topics treated are the staging of the interludes, intrigue in Elizabethan tragedy, and Jacobean stage pastoralism. This title will be of interest to students of English literature.
The theory considers human behavior in terms of functional equilibrium between the stable properties of the mind, independent from the pressures of the sociocultural environment and the immediate situational context. What we call "character" thus denotes an autonomous configuration of psychological elements, which remains stable despite the changing external circumstances.
Arguably the most revered and researched author of all time, William Shakespeare has forever changed the face of literature.
Readers of Shakespeare’s greatest tragedies have long noted the absence of readily explainable motivations for some of Shakespeare’s greatest characters: why does Hamlet delay his revenge for so long? Why does King Lear choose to renounce his power? Why is Othello so vulnerable to Iago’s malice? But while many critics have chosen to overlook these omissions or explain them away, Millicent Bell demonstrates that they are essential elements of Shakespeare’s philosophy of doubt. Examining the major tragedies, Millicent Bell reveals the persistent strain of philosophical skepticism. Like his contemporary, Montaigne, Shakespeare repeatedly calls attention to the essential unknowability of our world. In a period of social, political, and religious upheaval, uncertainty hovered over matters great and small—the succession of the crown, the death of loved ones from plague, the failure of a harvest. Tumultuous social conditions raised ultimate questions for Shakespeare, Bell argues, and ultimately provoked in him a skepticism which casts shadows of existential doubt over his greatest masterpieces.