Comic Transformations in Shakespeare
Routledge, 11/10/2013 - 256 páginas
First published in 1980.
In this study of Shakespeare's ten early comedies, from The Comedy of Errors to Twelfth Night, the concept of a dynamic of comic form is developed; the Falstaff plays are seen as a watershed, and the emergence of new comic protagonists - the resourceful, anti-romantic romantic heroine and the Fool - as the summit of the achievement.
The plays are explored from three complementary perspectives - theoretical, developmental and interpretative which lead to a further understanding of the powerful relation between the plays' formal complexity and their naturalistic verisimilitude.
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My glass and not my brother
Ill Kate of Kate Hall
The Two Gentlemen of Verona 5 3
Navarres world of words
Jessicas monkey or The Goodwins
The case of Falstaff and the Merry Wives
Better than reportingly
Existence in Arden
Natures bias 100
Comic remedies 116
Scanning a Shakespeare play 118
Selective bibliographical note 133
Outras edições - Ver tudo
Alazon Antipholus Antonio Armado audience Bassanio Beatrice and Benedick Belmont Berowne Berowne's characters Claudio Comedy of Errors comic device comic disposition comic pleasure courtly courtly love daughter Demetrius dialectic disguise doth double dramatic Duke early comedies effect Eiron eyes Falstaff fantasy father Festive foil folly fool Ganymede Gentlemen hath heart Helena Hermia identities Illyria imagination invited ironic Jaques Julia Kate knot of errors ladies Love's Labour's Lost lovers Malvolio marriage mask matter Merry Wives Methuen Midsummer Night's Dream mind mock mockery nature Night's Dream Olivia Orlando Orsino parody passion perceive Petruchio play play's plot protagonists Proteus remedy role romantic romantic love Rosalind says scene Shakespeare Our Contemporary Shakespeare's Comedy Shrew Shylock Silvia speak speech spirit suitor Terentian thee Theseus thou tion transformed turbarum Twelfth Night twins unmasking Valentine Valentine's Viola wisdom witty young