Shakespeare & the Uses of ComedyUniversity Press of Kentucky, 1986 - 270 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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Strana 137
... Claudio to compas- sion ) ; but even that concession hardly makes palatable his elaborate display of grief ( V.i.3-38 ) , which alarms Antonio , his genuinely grieving brother . Leonato concludes hypocritically , " I will be flesh and ...
... Claudio to compas- sion ) ; but even that concession hardly makes palatable his elaborate display of grief ( V.i.3-38 ) , which alarms Antonio , his genuinely grieving brother . Leonato concludes hypocritically , " I will be flesh and ...
Strana 138
... Claudio or correcting him , would have him retrace his steps , once more exercise his faculty of sight , and conceivably repeat the fatal pattern , again with Hero as his object . Sadly , in the end this is not unlike what Claudio does ...
... Claudio or correcting him , would have him retrace his steps , once more exercise his faculty of sight , and conceivably repeat the fatal pattern , again with Hero as his object . Sadly , in the end this is not unlike what Claudio does ...
Strana 259
... Claudio as the main plot . " 2. One example is Franco Zeffirelli's movie version of the play ( 1966 ) . 3. Salingar ... Claudio absolutely , but fewer still take him seriously as a lover . One exception is Hunter , who writes ...
... Claudio as the main plot . " 2. One example is Franco Zeffirelli's movie version of the play ( 1966 ) . 3. Salingar ... Claudio absolutely , but fewer still take him seriously as a lover . One exception is Hunter , who writes ...
Obsah
Shakespeares Exploration of the Human Comedy | 1 |
The Comedy of Errors | 14 |
The Two Gentlemen of Verona | 27 |
Autorské práva | |
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