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" "Something happened in the Renaissance, something that surged up against the constraints that centuries had constructed around curiosity, desire, individuality, sustained attention to the material world, the claims of the body. The cultural shift is notoriously difficult to define, and its significance has been fiercely contested. But it can be intuited easily enough when you look in Siena at Duccio’s painting of the enthroned Virgin, the Maestà, and then in Florence at Botticelli’s Primavera.
(born November 7, 1943) is an American Shakespearean, literary historian, and author.
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The transformation was not sudden or once-for-all, but it became increasingly possible to turn away from a preoccupation with angels and demons and immaterial causes and to focus instead on things in this world; to understand that humans are made of the same stuff as everything else and are part of the natural order; to conduct experiments without fearing that one is infringing on God’s jealously guarded secrets; to question authorities and challenge received doctrines; to legitimate the pursuit of pleasure and the avoidance of pain; to imagine that there are other worlds beside the one that we inhabit; to entertain the thought that the sun is only one star in an infinite universe; to live an ethical life without reference to postmortem rewards and punishments; to contemplate without trembling the death of the soul.
Tyrannical power is more easily exercised when it appears that the old order continues to exist. The reassuring consensual structures may now be hollowed out and merely decorative, but they are all still in place, so that the bystanders, who crave psychological security and a sense of well-being, can persuade themselves that the rule of law is being upheld.
Shakespeare did not think that tyrants ever lasted for very long. However cunning they were in their rise, once in power they were surprisingly incompetent. Possessing no vision for the country they ruled, they were incapable of fashioning enduring support, and though they were cruel and violent, they could never crush all of the opposition. Their isolation, suspicion, and anger, often conjoined to an arrogant overconfidence, hastened their downfall. The plays that depict tyranny inevitably end at least with gestures toward the renewal of community and the restoration of legitimate order.