Comic Transformations in ShakespeareRoutledge, 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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Página 9
... folly . This produces what the neoclassical theorists of the Renaissance , following Donatus , called the incrementum processusque turbarum , the increase and progression of perturbations , or ' the forward progress of the turmoils ...
... folly . This produces what the neoclassical theorists of the Renaissance , following Donatus , called the incrementum processusque turbarum , the increase and progression of perturbations , or ' the forward progress of the turmoils ...
Página 10
... folly or set of follies , or species of folly , or privation or perversity presented in a particular play . The insights that these remedies generate or precipitate are thus endowed with a double validity . We do not , it must be ...
... folly or set of follies , or species of folly , or privation or perversity presented in a particular play . The insights that these remedies generate or precipitate are thus endowed with a double validity . We do not , it must be ...
Página 11
... folly is a stalking horse ; or indirectly if they are foolish would - be wits , simply by being in their own blithe unawareness what their betters are in their ridiculous essence . The question of how foolish a Shakespearean fool really ...
... folly is a stalking horse ; or indirectly if they are foolish would - be wits , simply by being in their own blithe unawareness what their betters are in their ridiculous essence . The question of how foolish a Shakespearean fool really ...
Página 13
... folly itself ( since Shakespeare had no written source ) and justifying the Greek insight . And just as the three primary colours under the laws of optics behave the complement of red being green , for instance , which is a mixture of ...
... folly itself ( since Shakespeare had no written source ) and justifying the Greek insight . And just as the three primary colours under the laws of optics behave the complement of red being green , for instance , which is a mixture of ...
Página 14
... Folly enact ? What do his comic energies nourish and foster ? Having more flesh than another man he has therefore more frailty , but what are the pleasures we derive from his easy morals and immense belly ? According to Bakhtin , in ...
... Folly enact ? What do his comic energies nourish and foster ? Having more flesh than another man he has therefore more frailty , but what are the pleasures we derive from his easy morals and immense belly ? According to Bakhtin , in ...
Índice
1 | |
22 | |
Kate of Kate Hall | 37 |
The Two Gentlemen of Verona | 53 |
Navarres world of words | 69 |
Fancys images | 96 |
Jessicas monkey or The Goodwins | 115 |
The case of Falstaff and the Merry Wives | 142 |
Better than reportingly | 162 |
Existence in Arden | 180 |
Natures bias | 200 |
Comic remedies | 216 |
Scanning a Shakespeare play | 228 |
Selective bibliographical note | 233 |
Index | 237 |
Outras edições - Ver tudo
Palavras e frases frequentes
appears audience Beatrice beauty becomes believe Benedick Berowne better brings called characters comedy comic device criticism daughter desire difference disguise double dream early effect Elizabethan errors eyes face fall Falstaff father figure final folly fool function further Gentlemen gives hand hath heart human identities imagination interest invited ironic ladies later least less living London Lost lovers marks marriage matter means Merry mind mock nature never Night noted Olivia once passion perceive play play's pleasure plot possession possible present protagonists Proteus prove provides question reason remedy René Girard reversal rhetoric role Rosalind says scene sense Shakespeare's Shylock speak speech spirit story structure surely taken tells thee thing thou tion transformation true turn twins University Press whole Wives York young