The world of Macbeth, with its absolutes of good and evil, seems
very remote from the shifting perspectives of Antony and Cleopatra,
or the psychological and political realities of Coriolanus. Yet all
three plays share similar thematic concerns and preoccupations: the
relation of power to legitimating authority, for instance, or of
male and female roles in the imagination of (male) heroic
endeavour.;In this acclaimed study, Nicholas Grene shows how all
nine plays written in Shakespeare's main tragic period display this
combination of strikingly different milieu balanced by thematic
interrelationships. Taking the English history play as his starting
point, he argues that Shakespeare established two different modes
of imagining: the one mythic and visionary, the other sceptical and
analytic. In the tragic plays that followed, themes and situations
are dramatised, alternately, in sacred and secular worlds. A
chapter is devoted to each tragedy, but with a continuing awareness
of companion plays: the analysis of Julius Caesar informing that of
Hamlet, discussion of Troilus and Cressida counterpointed by the
critique of Othello and the treatment of King Lear growing out from
the limitati
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