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Robertson Davies

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The professor who lectured on Shakespeare seemed to be entrapped in a grotesque, retrospective love affair with every one of Shakespeare's heroines. I think he even had a feeling that he could have made a respectable faculty wife out of Lady Macbeth.

 
Robertson Davies

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What Elizabethan playwrights learned from the Greek classics was not theories of insanity, but dramatic practice — that is, madness is a dandy theatrical element. It focuses the audience's attention and increases suspense, since you never know what a mad person may get up to next; and Shakespeare himself makes use of it in many forms. In King Lear, there's a scene in which one man pretending to be mad, another who has really gone mad, and a third who has probably always been a little addled, are brought together for purposes of comparison, irony, pathos, and tour de force acting. In Hamlet, there are two variations — Hamlet himself, who assumes madness, and Ophelia, who really does go winsomely bonkers. In MacBeth, it's Lady MacBeth who snaps.

 
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If Shakespeare had to go on an author tour to promote Romeo and Juliet, he never would have written Macbeth.

 
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Ultimately, Anthony Burgess's emphasis on the multiplicity of meanings latent in the text of Shakespeare's life foregrounds his own appropriation of Shakespeare … Clearly this is not an inconsistency on Burgess's part but a deliberate pointer at the inevitability of appropriating any given text, particularly that most irresistible one of Shakespeare's life.

 
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Macbeth’s self-justifications were feeble – and his conscience devoured him. Yes, even Iago was a little lamb too. The imagination and the spiritual strength of Shakespeare’s evildoers stopped short at a dozen corpses. Because they had no ideology.

 
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