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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... males' subjects and at their controls: Man, more divine, the master of all these, Lord of the wide world and wild wat'ry seas, Indu'd with intellectual sense and souls, Of more pre-eminence than fish and fowls, Are masters to their ...
... moves in a world where wounds can bleed and at least some people must be held accountable for their actions. Proteus, Julia's male counterpart, never becomes her equal in credibility, 34 Shakespeare and the Uses of Comedy.
J. A. BryantJr. Proteus, Julia's male counterpart, never becomes her equal in credibility, yet he is far superior in both credibility and interest to Shakespeare's Valentine, who for all his prominence in the play does little more than ...
... must receive the embassy, male or female, "on mere necessity" (I.i.148). France, it would appear, is still France; and the attractiveness of the young girl is never in question. Nevertheless, we Love's Labor's Lost 43.
... males in the play—that is, those who play— the game is an end in itself. One speaks of the game, but it is a game of several modes. The mode most congenial to both Costard and Boyet, males at opposite ends of the social and intellectual ...
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 |