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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... things share, the fund of conditioned and conditioning organic processes that produces the life rhythm.”“What the view of Shakespeare the sixteenth-century man was about any of these matters we can most likely never know. What is ...
... thing could have existed at the time—about his reasons for writing, as. legend. has. it. William. Faulkner. was. once. asked,. he. surely. would have given young Faulkner's answer—namely, to make money. Being human, Shakespeare must have ...
... things and make us one with Caliban, who whispers to the two uncomprehending fools: “The clouds methought would open and show riches / Ready to drop upon me, that, when Iwaked, / I cried to dream again" (III.ii.141-43). The path to full ...
... thing that has attempted to resist the flow, including those members of the community—parents, magistrates, rival suitors, spiritual mentors—who because of age, position, wealth, or even virtue have claimed immunity to time's ravages ...
... things as the multiplication of crossed purposes and doubled Dromios become the cardinal virtues of a simple but remarkable play. Harry Levin's brief introduction to the Signet edition of the play is a much more comprehensive account of ...
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 |