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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... give us much more. Nevertheless, the closest approach to the fullness of the music that the composer conceived will most likely occur in the quiet study of a trained and perceptive reader who 8 Shakespeare and the Uses of Comedy.
... Nevertheless, the present study proceeds on an equally valid premise that Shakespeare differed from most of his contemporaries in that the plays he wrote were private accomplishments as well as public ones. That is, the compositions he ...
... Nevertheless, Aristotle's treatise on tragedy survived; his treatise on comedy did not. Consequently the critical tradition has found it easy to do what it might have done in any case: treat comedy as an inferior mode. The assumption ...
... nevertheless to call the play a comedy and observed that “farce dares add the two Dromios.” Hazlitt simply disliked it.” Even those modern critics who have inclined to be approving have praised "romantic" elements that Shakespeare ...
... nevertheless, it repeats Coleridge's quip about farce daring to add the two Dromios and thereby adds additional weight to an unwary reader's tendency to assume that Shakespeare by such strategies was seeking to enhance a “knockabout ...
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 |