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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J. A. BryantJr. This page intentionally left blank Contents Acknowledgments As You Like It Troilus and Cressida All's.
J. A. BryantJr. Contents Acknowledgments As You Like It Troilus and Cressida All's Well That Ends Well and Measure for Measure Cymbeline and The Winter's Tale The Tempest Notes Index ix . Shakespeare's Exploration of the Human Comedy 1 ...
... Troilus and Cressida and The Tempest as representatives of those two special groups. All seventeen of these plays, however, with the possible exception of Pericles, which has been left out of consideration, can with justice be called ...
... Troilus and Cressida; but to judge by the general import of that play and the evidence of others, including King Lear and The Tempest, Shakespeare might have found at least interesting, if not congenial, Henri Bergson's notions of being ...
... Troilus and Cressida (witness editors' disagreement about the proper classification for that play), which has most of the details one associates with comedy but which ends in frustration or death for several of the principals. In recent ...
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 |