By Nicholas Marsh
Concentrating on All's good that Ends good, degree for degree and Troilus and Cressida, Nicholas Marsh makes use of shut research of extracts from the performs to construct the reader's self assurance while forthcoming Shakespeare's challenge performs, and exploring the unresolved competing discourses they dramatize. within the first a part of the textual content, chapters on Openings, younger males, ladies, Politics, and Society, Fools and fools, and Drama spotlight the a number of interpretations those performs galvanize. within the moment half, dialogue of the place the matter performs stand relating to Shakespeare's lifestyles and works, a bankruptcy in regards to the old and cultural context, and a comparability of 5 serious perspectives, with feedback for extra analyzing, supply a bridge in the direction of extra research.
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Additional info for Shakespeare: Three Problem Plays (Analysing Texts)
Sample text
We are tempted to ask: so what was the point in all that theorising? The final line, which rather vaguely attempts to distinguish ‘honesty’ and ‘goodness’, highlights the failure of the Countess’s verbal efforts. Yes, Helena is good, and this is a compliment; but the Countess has failed to analyse her goodness in any meaningful way. When she confronts the problem of Bertram, the Countess’s terms are similarly questionable. She urges nature and nurture, at the same time, to ‘contend for empire’ in Bertram, and to ‘share’ him.
What figure of us, think you, he will bear? 16 For you must know, we have with special soul Elected him our absence to supply; Lent him our terror, drest him with our love, And given his deputation all the organs 20 Of our own power. What think you of it? If any in Vienna be of worth To undergo such ample grace and honour, It is Lord Angelo. Enter ANGELO. Duke: Ang: Duke: Look where he comes. Always obedient to your Grace’s will, I come to know your pleasure. Angelo: There is a kind of character in thy life That to th’observer doth thy history Fully unfold.
She urges nature and nurture, at the same time, to ‘contend for empire’ in Bertram, and to ‘share’ him. We are tempted to ask: what does she mean? Should they fight until one dominates, or should they co-operate with each other? Further, she asks him to ‘succeed’ to his father’s manners and shape. Yet, surely, the whole drift of her analysis is that manners are not inherited, but learned and acquired? Openings 21 In fact, the Countess’s verbal onslaught on life fails; and if we think about her subject, we can see that it is right that it should fail.