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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... Society, Kentucky State University, Morehead State University, Murray State University, Northern Kentucky University, Transylvania University, University of Kentucky, University of Louisville, and Western Kentucky University. Editorial ...
... society, or the cosmos. It is more likely that writing was the means by which he did most of his thinking, letting his reflections take the form of dramatic fictions which ostensibly did nothing more than present in lively fashion the ...
... society. Moreover, in his numerous presentations of the woman disguised as a male (The Two Gentlemen of Verona, The Merchant of Venice, As You Like It, Twelfth Night, and Cymbeline) sometimes accounted for as a happy accident of a ...
... society he has been destined from birth to serve.” A memorable example comes near the end of the play when Launce, having lost the “squirrel" lapdog he was instructed to deliver to Madam Silvia, has substituted Crab, only to find that ...
... the consequences of setting that reality in a context, thinly veiled, of contemporary society's artificial ideals, aspirations, and pretensions. So far we have noticed two characters who contribute to 32 Shakespeare and the Uses of Comedy.
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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 |