By Jennifer Ann Bates
A learn of self-consciousness in Hegel and Shakespeare.
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Extra info for Hegel and Shakespeare on Moral Imagination
Example text
One of the characteristics of first-order negation characters is that, initially, they see themselves as being above Fortune. Thus at the start of the play, Edmund rejects the position of the stars as a reason for his having been born a bastard: This is the excellent foppery of the world, that, when we are sick in fortune . . we make guilty of our disasters the sun, the moon, and stars; as if we were villains on necessity; fools by heavenly compulsion; knaves, thieves, and treachers, by spherical predominance; drunkards, liars, and adulterers, by an enforced obedience of planetary influence; and all that we are evil in, by a divine thrusting on.
10 He explains that “dramatic action . . ” Collisions occur when “one individual’s aim encounters hindrances from other individuals . . ”12 Ancient vs. Modern Collisions Hegel distinguishes between Classical (ancient) tragedy and Modern tragedy: Modern tragedy adopts into its own sphere from the start the principle of subjectivity. 13 Thus in Othello, the collision is not overtly the divine laws governing the family versus the laws of the State (as it is for example in Sophocles’ Antigone). What constitute the main collisions are Iago’s hatred for Othello, and then the jealous fury of deceived Othello against innocent Desdemona.
Rosalind, Prospero, Cymbeline, Pericles, and other comic or romance characters have good luck in these and other respects. But good luck is not what makes comedy, nor is bad luck what makes tragedy. For the Elizabethan consciousness, what happened to these characters concerns one or all of the following: the Wheel of Fortune, Fate, or the will of Providence. References to Fortune and to the position of the stars or the Divine occur throughout Shakespeare’s plays and characters often plead with or rail against these forces.