Some of Shakespeare's most memorable male characters, such as Hamlet, Prince Hal, and Edgar, are defined by their relationships with their fathers. In Fathers and Sons in Shakespeare, Fred B. Tromly demonstrates that these relationships are far more complicated than most critics have assumed. While Shakespearean sons often act as their fathers' steadfast defenders, they simultaneously resist paternal encroachment on their autonomy, tempering vigorous loyalty with subtle hostility. Tromly's introductory chapters draw on both Freudian psychology and Elizabethan family history to frame the issue of filial ambivalence in Shakespeare. The following analytical chapters mine the father-son relationships in plays that span Shakespeare's entire career. The conclusion explores Shakespeare's relationship with his own father and its effect on his fictional depictions of life as a son. Through careful scrutiny of word and deed, the scholarship in Fathers and Sons in Shakespeare reveals the complex attitude Shakespeare's sons harbour towards their fathers.
Sir Walter Raleigh's biographers have given little attention to his tragic relationship with his son Wat (Walter). They began in proud identification, each seeing himself in the other. But after the father's political downfall and imprisonment for treason, he lost his authority in the family, and the son began to reject paternal advice and his studies and to engage in violent quarrels and duels. Often the father used his influence to rescue his son from his rash acts. Things came to a head after Wat was sued by a young woman for violent assault, and imprisoned. The aged Raleigh had been freed from the Tower to lead an expedition to Guiana, and--as recently discovered documents reveal--he delivered his son from the law by commissioning him as a captain on his flagship, ominously named the Destiny. In a shared tragedy, Wat was killed in a skirmish, and the grieving Raleigh returned to England, broken in spirit and ready for the execution that awaited him.
Some of Shakespeare's most memorable male characters, such as Hamlet, Prince Hal, and Edgar, are defined by their relationships with their fathers. In Fathers and Sons in Shakespeare, Fred B. Tromly demonstrates that these relationships are far more complicated than most critics have assumed. While Shakespearean sons often act as their fathers' steadfast defenders, they simultaneously resist paternal encroachment on their autonomy, tempering vigorous loyalty with subtle hostility. Tromly's introductory chapters draw on both Freudian psychology and Elizabethan family history to frame the issue of filial ambivalence in Shakespeare. The following analytical chapters mine the father-son relationships in plays that span Shakespeare's entire career. The conclusion explores Shakespeare's relationship with his own father and its effect on his fictional depictions of life as a son. Through careful scrutiny of word and deed, the scholarship in Fathers and Sons in Shakespeare reveals the complex attitude Shakespeare's sons harbour towards their fathers.
Playing with Desire takes a new approach to Christopher Marlowe's body of writing, replacing the view of Marlovian desire as heroic aspiration with a far less uplifting model. Fred B. Tromly shows that in Marlowe's writing desire is a response to calculated, teasing enticement, ultimately a sign not of power but of impotence. The author identifies this desire with the sadistic irony of the Tantalus myth rather than with the sublime tragedy exemplified by the familiar figure of Icarus. Thus, Marlowe's characteristic mis en scene is moved from the heavens to the netherworld. Tromly also demonstrates that the manipulations of desire among Marlowe's characters find close parallels in the strategies by which his works tantalize and frustrate their audiences.Closely examining all the plays and the major poems, the author deploys a variety of resources - Renaissance mythography, the study of literary sources (especially Ovid), comparisons with contemporary writers, performance history, and social history - to demonstrate how central Tantalus and tantalizing are to Marlowe's imagination.
Sir Walter Raleigh's biographers have given little attention to his tragic relationship with his son Wat (Walter). They began in proud identification, each seeing himself in the other. But after the father's political downfall and imprisonment for treason, he lost his authority in the family, and the son began to reject paternal advice and his studies and to engage in violent quarrels and duels. Often the father used his influence to rescue his son from his rash acts. Things came to a head after Wat was sued by a young woman for violent assault, and imprisoned. The aged Raleigh had been freed from the Tower to lead an expedition to Guiana, and--as recently discovered documents reveal--he delivered his son from the law by commissioning him as a captain on his flagship, ominously named the Destiny. In a shared tragedy, Wat was killed in a skirmish, and the grieving Raleigh returned to England, broken in spirit and ready for the execution that awaited him.
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