‘Hyperion’s curls, the front of Jove himself’ (3.4.56): mythological portraits in Hamlet’s closet scene
The article shows how Renaissance humanism — the rediscovery of classical learning — is dramatised in Hamlet to pit an idealised past against a corrupted present. It focuses on the ‘closet scene’ (3.4), that, for the benefit of Gertrude’s eyes — and the audience’s —, represents Hamlet’s father, a so...
Enregistré dans:
| Dans: | URI:https://journals.openedition.org/asf, |
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| Auteur principal: | |
| Format: | Article ou chapitre numérique |
| Langue: | Anglais |
| Publié: |
Arrêt sur scène / Scene Focus
2024
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| Accès en ligne: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |