Shakespeare and the Uses of ComedyUniversity Press of Kentucky, 15. 7. 2014 - 280 strán (strany) In Shakespeare's hand the comic mode became an instrument for exploring the broad territory of the human situation, including much that had normally been reserved for tragedy. Once the reader recognizes that justification for such an assumption is presented repeatedly in the earlier comedies—from The Comedy of Errors to Twelfth Night—he has less difficulty in dispensing with the currently fashionable classifications of the later comedies as problem plays and romances or tragicomedies and thus in seeing them all as manifestations of a single impulse. Bryant shows how Shakespeare, early and late, dutifully concerned himself with the production of laughter, the presentation of young people in love, and the exploitation of theatrical conventions that might provide a guaranteed response. Yet these matters were incidental to his main business in writing comedy: to examine the implications of an action in which human involvement in the process of living provides the kind of enlightenment that leads to renewal and the continuity of life. With rare foresight, Shakespeare presented a world in which women were as capable of enlightenment as the men who wooed them, and Bryant shows how the female characters frequently preceded their mates in perceiving the way of the world. In most of his comedies Shakespeare also managed to suggest the role of death in life's process; and in some—even in plays as diverse as A Midsummer Night's Dream, As You Like It, and The Tempest—he gave hints of a larger process, one without beginning or end, that may well comprehend all our visions—of comedy, tragedy, and history—in a single movement. |
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... Shrew . The Merry Wives of Windsor . Much Ado about Nothing 10. . Twelfth Night 12. 13. 14. 15. 14 27 40 57 81 98 114 125 146 165 179 203 221 233 253 266 This page intentionally left blank Acknowledgments It is a pleasure Contents.
... Shrew, and, most notably, Much Ado about Nothing, Shakespeare portrayed with increasing harshness the injustice done to women in fashionable society. Moreover, in his numerous presentations of the woman disguised as a male (The Two ...
... shrew and gives credence to Luciana's defense of her when the Abbess scolds in Act V. “She never reprehended him but mildly," says Luciana, “When he demean'd himself rough, rude, and wildly" (Vi.87-88); and we believe her. Rough, rude ...
... Shrew and of Hero in Much Ado about Nothing. It is not the role of Miranda in The Tempest, however much Prospero and Ferdinand may want Miranda to play that role; and it is not the role of Luciana, who is knowledgeable beyond her ...
... shrew, and that in the unexciting union of these two lies the image of many marriages that degenerate when left to their own devices. What Luciana has said about the principle of order may very well be true in some unfallen world ...
Obsah
1 | |
14 | |
27 | |
40 | |
5 A Midsummer Nights Dream | 57 |
6 The Merchant of Venice | 81 |
7 The Taming of the Shrew | 98 |
8 The Merry Wives of Windsor | 114 |
10 As You Like It | 146 |
11 Twelfth Night | 165 |
12 Troilus and Cressida | 179 |
13 Alls Well That Ends Well and Measure for Measure | 203 |
14 Cymbeline and The Winters Tale | 221 |
15 The Tempest | 233 |
Notes | 253 |
Index | 266 |