By T. McAlindon (auth.)
This e-book offers a extensive introductory standpoint on its topic including certain stories of the most important non-Shakespearean tragedies. It assumes that the important and most annoying insights of the performs have been expressed when it comes to the concept styles of the time; specifically, it argues that the pre-modern notion of the cosmos as a dynamic yet stressful method of opposite forces supplied the dramatists with a version of tragic event. An strange function of the e-book is its emphasis at the seminal achievements of either Kyd and Marlow - with whom the tragedy of 'confounding contraries' begins.
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88 Law might be confused with everything it is naturally opposed to, but that is a measure of the extent to which the tyrannies of will and passion can pervert man's noblest ideals and achievements. The only law which proves reasonably dependable in the play-world of the tragedies is the law that evil rebounds upon the doer; there is an evenhanded justice which , works independently of lawfully constituted authority, making the torments of conscience and the passions and errors of desperate men its only instruments.
And arbitrary nature of man's laws and ridiculed the notion of a common law rooted in the nature of things and available to reasonable men everywhere. Yet the most influential spokesmen of this attitude were more convinced than anyone else that man must be 'bridled and fettered' by laws of whatever kind if he is to be saved from the urge towards 'volubility and dissolution' that forever rages within him. 61 All this belongs to the social and intellectual history of Western Europe and was not peculiar to England alone.
Always, however, the ironic echo points to a process 34 English Renaissance Tragedy of cause and effect in human affairs and to the remorseless operation of a law which demands limit and restraint even where obedience to that demand seems humanly impossible- when perhaps the time itself is out of joint. 85 We have now considered two aspects of a development in which the traditional theme of retribution becomes part of a much more comprehensive and dramatically oriented response to the problem of justice and law in the tragic world: first, the extension of interest from the inevitable downfall of the great law-breakers to the sufferings and dilemmas of those whose wrongs the law will not redress; and, second, an emphasis-arising out of the antithesis between reason and passion, patience and revenge (rebellion)- on time (natural law, the historical process) as a source of ironic Nemesis and a corrective order.
English Renaissance Tragedy by T. McAlindon (auth.)