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. |
Vyhľadávanie v obsahu knihy
Výsledky 1 - 5 z 31.
... dramatic comedy. It is a book with many predecessors and almost as many creditors, most of whom will be acknowledged as their contributions appear. Several comprehensive works have proved valuable throughout, however, and deserve to be ...
... dramatic fictions which ostensibly did nothing more than present in lively fashion the commonplaces beloved of those minds he was expected to address. Today we see that many of those fictions, seemingly innocent enough when proffered as ...
... dramatic worlds of his contemporaries were not. At the end, one suspects, he saw the truth well enough to have understood Matthew Arnold's phrases about him: “Self-schooled, self-scanned, self-honored, self-secure." Even in his later ...
... Dramatic Experience: A Guide to the Reading of Plays: A play is not like a novel or a poem. This is a truism that need[s] to be repeated. Because the playwright must put his ideas for his play into so many words on paper, it is all too ...
... dramatic poem. The full experience of any poetry worth remembering will be solitary, not communal. So it is with the dramatic poetry of Shakespeare, regardless of the fact that his dramatic poems came to the world first as theatrical ...
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 |