Introduction to English Renaissance ComedyManchester University Press, 1999 - 186 sidor This guide provides a comprehensive introduction to Elizabethan, Jacobean and Caroline comedy, covering both public and private theatres, encompassing the eclective, experimental nature of this comedy: its departures from the mainstream New Comedy tradition and its searching, witty analysis of social and personal relations in court, city and country. This book, an analysis of some of the richest comedies of the periods, makes sometimes inexpected connection between them: Shakespeare's A Midsummer Night's Dream and The Tempest, Lyly's Endymion, Greene's Friar Bacon and Friar Bungay, Marston's The Malcontent, Middleton's Michaelmas Term, Jonson's Bartholemew Fair, Shirley's The Lady of Pleasure and Brome's A Jovial Crew. Through these plays the reader is given a picture of English comedy in one of its most creative periods. |
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Sida 119
... Miranda sleep before he calls up Ariel , as though she is not allowed to watch the magician at work . It is striking that Miranda and Ariel , the two characters with whom Prospero has the closest relationships , have no relationship ...
... Miranda sleep before he calls up Ariel , as though she is not allowed to watch the magician at work . It is striking that Miranda and Ariel , the two characters with whom Prospero has the closest relationships , have no relationship ...
Sida 123
... Miranda conveys what she did for Caliban : When thou didst not , savage , Know thine own meaning , but wouldst ... Miranda's claim recalls the assumption of European explorers that the natives were speaking meaningless gabble.22 But ...
... Miranda conveys what she did for Caliban : When thou didst not , savage , Know thine own meaning , but wouldst ... Miranda's claim recalls the assumption of European explorers that the natives were speaking meaningless gabble.22 But ...
Sida 126
... Miranda and her father opens when , as he tells the story of his life , he keeps checking her level of attention : ' Dost thou attend me ? ... Thou attend'st not ! ' ( 1.2.78 , 87 ) . She is presumably listening as hard as she can , but ...
... Miranda and her father opens when , as he tells the story of his life , he keeps checking her level of attention : ' Dost thou attend me ? ... Thou attend'st not ! ' ( 1.2.78 , 87 ) . She is presumably listening as hard as she can , but ...
Innehåll
Lyly Endymion | 19 |
Greene Friar Bacon and Friar Bungay | 30 |
Shakespeare A Midsummer Nights Dream | 61 |
Upphovsrätt | |
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action actors Altofront appears Aretina Ariel audience authority Bacon Bartholomew Fair becomes beggars beginning brazen head Caliban calls centre characters claims comedy comes court created Cynthia death describes Dream Easy effect Elizabeth Elizabethan Endymion England English Fair feel figure final freedom Friar Friar Bacon gives identity imagine island John Jonson keep King lady land language later leave live London look lord lovers magic Malcontent Malevole Margaret masque matter means Miranda nature never notes offers Overdo performance Pietro Plautus play play's pleasure political Prospero puts Queen question Quomodo recalls references relationship Renaissance role scene seems sense Shakespeare simply sleep social society speech spirits stage story suggests tells Tempest Term theatre thee Theseus thing thou tradition turn wants watch women
Hänvisningar till den här boken
Richard Brome: Place and Politics on the Caroline Stage Matthew Steggle Fragmentarisk förhandsgranskning - 2004 |