Shakespeare and the Uses of ComedyUniversity Press of Kentucky, 2014/07/15 - 280 ページ 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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... Berowne; "Jack hath not Gill” (Vii.874–75). And he will not be consoled. Moreover, the songs which were to have concluded the entertainment within the play, a dialogue between the owl and the cuckoo, winter and spring, conclude the play ...
... Berowne, in arguing against the King of Navarre's proposal to impose a three-year vow of celibacy, reminds his colleagues: . . . well you know here comes in embassy The French king's daughter with yourself to speak— A maid of grace and ...
... Berowne and by what Boyet tells us of the King. "Navarre is infected,” he says; and when the Princess demands his reasons for thinking so, the canny old courtier details the symptoms of the young man's infatuation, ending with, "I'll ...
... Berowne to Rosaline and from Armado to Jaquenetta. The Princess means to intercept the letter to Rosaline, but Costard by mistake gives her Jaquenetta's, which deals extensively with King Cophetua's wooing of "the pernicious and ...
... Berowne's assertion that every man is vulnerable to passion and powerless to overcome it without outside help: "Every man with his affects is born, / Not by might mast'red, but by special grace" (I.i.151-52). The play, as we know, never ...
目次
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 |