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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... plot, character, and language, that custom has established as its distinguishing characteristics. Persons holding this view tend to think of comedy as a distinct substance, or concatenation of substances, very different from simple ...
... plot comes from Plautus's Menaechmi, a play that Shakespeare may well have read not long before, at the Stratford Grammar School; and to this he added a frame story from the popular tale of Apollonius of Tyre. Older criticism of the ...
... plot that appears in Act III, scene i. In Plautus's version, as in the numerous treatments that have come out since Plautus's time, something like the following takes place: Jupiter and Mercury disguise themselves respectively as ...
... plotting it was clear that The Comedy of Errors would have to have two matings in it, one new and one renewed. With the addition of the frame story it would have to receive yet a third mating, this one recovered from the dead. The ...
... plot that Shakespeare took from Gil Polo, is the signal exception. From beginning to end he embodies and thus keeps steadily in our view the imaginary world of the Italianate romance. Soon after his arrival in Milan, we find his servant ...
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 |