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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... husband, even my soul Doth for a wife abhor. But her fair sister, Possess'd with such a gentle sovereign grace, Of such enchanting presence and discourse. Hath almost made me traitor to myself; But, lest myself be guilty to self-wrong ...
... husband, and my children both, And you the calendars of their nativity, Go to a gossips' feast, and go with me— After so long grief, such nativity! [V.i.401-07] Thus Shakespeare has found even in the shape, movement, and accidents of a ...
... husband and to plead with him that it not be allowed to end altogether: The time was once, when thou unurg'd wouldst vow That never words were music to thine ear. That never object pleasing in thine eye, That never touch well welcome to ...
... Husband, I'll dine above with you to-day, And shrive you of a thousand idle pranks. [II.ii.203-8] Later, when her sister Luciana dutifully reports what she innocently takes to have been a husband's attempt at infidelity in his own house ...
... husbands would have been intolerably immoral, but a solution with one mortal husband and one divine would have been blasphemy under any but the most delicately controlled circumstances. Furthermore, once Shakespeare had presented the ...
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 |