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. 2. The. Comedy. of. Errors. Most students of The Comedy of Errors agree in calling the play an early one—some say Shakespeare's earliest play, or at least his earliest comedy ... romantic" elements that Shakespeare either ...
... romantic comedy is what the French call an ingenue, a naive young woman whose principal function is to be sought after by men and whose role in the play is fulfilled when she has allowed herself to be found and seized by the right one ...
... romantic comedy (and this is as much a romantic comedy as any Shakespeare ever wrote) requires that the eligible young woman in it be at least free to say, without reservation, the “yes” she has been longing to say to her young man. By ...
... romantic fiction. To Proteus, newly arrived, he boasts of his mistress's status: “If not divine, / yet let her be a principality, / Sovereign to all the creatures on the earth" (II.iv.151-53). He makes her the subject of extravagant ...
... romantic comedy. Here, to a much greater extent than in The The Two Gentlemen of Verona 35.
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 |