Shakespeare

The present article attempts to trace the elements of change in the early and late Shakespearean tragedies from the viewpoint of style and the writer’s ideological stance. Shakespeare’s tragic writing undergoes certain modification as he moves further in his career. One aspect of this modification is the change in the protagonist’s dynamism. Although Romeo and Juliet both show certain signs of development which separates them from comic characters, they still lack the psychological depth which is witnessed in Shakespeare’s late tragic heroes. It is true they realize their tragic fate, yet they fail in gaining full consciousness of their situation and their contribution to their own destiny. Another aspect is the change of diction toward a more ‘natural’ employment of language and rhetorical devices. In Shakespeare’s mature tragedies, we do not see the experimental lyricism we witness in Romeo and Juliet, as the playwright seems to adopt the classical notion of decorum, according to which each character should speak in accordance with its social status.

The current research examines Stephen Greenblatt’s theories on the improvisation of power as well as tyranny in William Shakespeare’s second tetralogy to investigate the complex network of non-violent psychological domination of human being’s mind, by the manipulation of symbolic order through the stages of displacement and absorption. It examines how the Western psychic mobility and its embodiment in empathy and the improvisation of power affect the represented English society in the Medieval era and how the consequential power relationships impact on the ways of ruling the country. The improvisation of power deconstructs the vertical and hierarchical power relations and makes them more diagonal, horizontal or even upward. The represented Medieval English court is a dark labyrinth of conspiracy, intrigue, treason, and complicity. This duality roots in religious fundamentalism of Roman Catholic church. The tension between the two paradigms of court and church causes turbulence and chaos. The result is the absolute submission of the majority through the improvisation of power, which paves the ground for the Machiavellian minority to exert power and gratify their personal self-interest-driven plans, which are mostly tyrannical. Through the improvisation of power, the course of history could change.

This article examines the reception and interpretation of Shakespeare’s works in modern-day Iran, beginning with an overview of the Qajar Dynasty (1789–1925) and focusing on Post-Revolutionary Iran. The study aims to illuminate an often-overlooked aspect: a significant shift in attitudes toward Shakespeare’s plays between pre- and post-Revolutionary Iran, shaped by the dominant policies and ideologies of each era. Prior to the 1979 Iranian Revolution, adaptations of Shakespearean works such as Macbeth and Hamlet demonstrated discernible political orientations. In contrast, post-Revolution adaptations, including Tardid and Mortal Wound, adopted a more sophisticated moralistic perspective. This transformation extended not only to thematic content but also to the medium of adaptation. During the pre-Revolution period, Shakespeare’s plays were primarily translated into dramatic performances. However, the post-Revolutionary era saw a shift toward visual adaptations, including cinematic productions and home-video renditions. The contrast between these periods offers insights into Iran’s contemporary outlook, revealing the interplay between historical power structures and the reception of Shakespeare’s works. This study highlights the extent to which prevailing systems of authority shape the acceptance and adaptation of cultural expressions across distinct historical contexts.