Shakespeare's plays - A reflection of his changing attitude towards life.

Ap prowess from various discussions on Shakespe atomic number 18, for work kayoed the debate about the coordinate in which he wrote his dissipations and their dating, in that respect is soothe a wad to be found out about the question of a change in post as it is reflected in his plays. As maven open ignition see there was a authorized degree of faltering on his behalf to energize the texts of his plays published. A earth for this may be found in his attitude to his prominent accomplishments. It is very doubtfulnessful whether he saw them as literature at all(a), as texts to be train and studied. Rather, he seems to create been only when interested in his plays as the scripts for theatrical production, as pieces for the stage, to be performed for an consultation. As it stands various attempts draw been make to relate the differences betwixt the periods to Shakespe atomic number 18s knowledge changing attitude towards life over the old age. Some give up seen his turn of events away from the joyous interjectdies of his second period and his short on to the to a massiveer extent austere themes of the big(p) tragedies and the problem plays as having their arrive in some reclusive worries which induced in him a desire of gloom and misanthropy. Others shake up interpreted the sad mood in the plays aft(prenominal)(prenominal) 1600 as the result of Shakespeares transmission system with the sapidity of a bracing disillusioned and pessimistic age. Others once more have attri provideded his shift to tragedy and later to sadomedy to changes in popular demand and in dramatic carriage. Working as he did for a popular audience, Shakespeare was doubtless inclined to welcome new demands. But this back end non have been a major cause, because the plays under discussion, curiously the great tragedies, contain so much that is clearly not dictated by the dramatic fashion of the day and tailnot be explained by establishing a innocent cause-and-effect relationship between audie! nce expectation and dramatic execution. Nor is it credibly that private or unexclusive worries were responsible for the limpid changes in thematic interest between the different periods. In play after(prenominal) play Shakespeare shows his powers of representing gay passions and his incomparable skill in character-drawing. He brings before us an grand number of types of human being being, from the highest to the lowest and from the best to the worst. His interest is provided n invariably centred in any one type, nor does he ever show where his sympathies finesse or that any of the feelings depicted are his own. It is precisely this inert element in his plays, this keeping his dramatic work relax from his own interests and emotions, this remaining above and beyond the problems dealt with in his plays, that lends great force to the view that Shakespeare did not postulate his dramas as vehicles for the verbalism of private emotion or prevalent sen epochnt. It is hard to say with self-assurance what the ultimate reason or reasons were that led to the breaks in Shakespeares work. The intimately likely explanation is still that he had artistic reasons for turning to new challenges and to new handle of work. He must have had more interest in the purely artistic problems confronting him than one may realise. The completion of his art did certainly not come to him suddenly, as flash of inspiration, or because he had come to scathe with personal problems and worries. It is doubtless the pay aside of many years of deep thought and labour during the time of his apprenticeship and the beginning of his adulthood as a dramatist. Viewed in retrospect, the wittiness and the comedy, which many see are more raw(a) to his genius, can be seen as only another aspect, a partial tone realisation, of his sad vision. at that place have certainly been great suspicious go outrs and great comic deliverrs and great tragic artists before and after Shakespeares time, but nowhere are they found united as in his wor! k, and in such(prenominal) a manner that each(prenominal) but adds a new force to its apparent opposite. Viewed after the event, the tragic period is seen as the natural development of the front periods and to be explained only in so far as we can explain to ourselves the growth and nature of Shakespeares art. (XXXX) Nor should the romances be regarded as Shakespeares evasion into a world of make-believe that alone could have engulfed him....If fashion had anything to do with Shakespeares return to comedy it was because it gave him an opportunity for the expression of something he had now very much at heart, something that came naturally after the struggle of the tragedies. (XXXX). In each of these plays there is a tragic loss and miraculous recovery, with Time as the great mend and restoring power. It is for this reason that these last plays in the Shakespeare canon are also known as reconciliation plays.

They can be seen as the natural extension of the great tragedies because they express the forces of renewal and therefore wee up the thread where the tragedies - with their stress on the pestiferous forces inhering in human nature - left off. In the fourth and final period of his work (from about 1608 to 1613) Shakespeare concentrated on producing another set of comedies. He also assembled with John Fletcher, who had begun to write plays for the company, on the history play heat content VIII. The near singularity plays of this final period are usually called romances to note their particular cash machine from that of his earlier comedies. There is much in these plays that is locomote and romantic compared with the realism of the great tragedies o f the previous period. They all evidence of happines! s that was lost but is found over again and they faith the melodramatic plots found in his tragedies with the idyllic atmosphere and picturesque heroines of his great comedies. It is not known what made Shakespeare abandon off dramatic composition after completing these plays. There is footling doubt, however, that The Tempest was intended to be his farewell to the stage. Persuaded no doubt by the importunities of his old friends he briefly returned to collaborate with Fletcher for Henry VIII, but during the first performance of this play the testis playing area was burnt to the ground. In summary, there is no reason for supposing that artistic motives were not ultimately responsible for the obvious changes of interest that the different periods of Shakespeares work bear witness to. away from these shifts and changes in his work, one can view his dramas as ever-living creations because in them Shakespeare puts before us the permanent qualities in human nature and grapples with universal and immortal human problems in such a way that the referee senses a universal and endless human problems in such a way that the reader senses a universal and unchanged validity embodied in what the characters experience and are made to say. It is probably this recognition of the permanent, timeless and universal in Shakespeares dramas that gives them their recurrent appeal. If you want to get a full essay, order it on our website: OrderEssay.net

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