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 97
... beginning ( 5.3.103 ) . But the play ends with the father and daughter still unknown to each other , and far from feeling punished or repentant she is quite satisfied with what she has got . The fact that what she has got is Andrew ...
... beginning ( 5.3.103 ) . But the play ends with the father and daughter still unknown to each other , and far from feeling punished or repentant she is quite satisfied with what she has got . The fact that what she has got is Andrew ...
Sida 111
... beginning of 2.2 , as though at this point a counter - play is beginning with a parody of the storm that opens the main play , transformed into low - life comedy by Trinculo's observation , ' Yon same black cloud , yon huge one , looks ...
... beginning of 2.2 , as though at this point a counter - play is beginning with a parody of the storm that opens the main play , transformed into low - life comedy by Trinculo's observation , ' Yon same black cloud , yon huge one , looks ...
Sida 150
... beginning of the play , Quarlous is in no position to be the play's central spokesman . In fact there is no such character : the principle of dispersed attention holds , right to the end . No authority can govern the Fair , or the play ...
... beginning of the play , Quarlous is in no position to be the play's central spokesman . In fact there is no such character : the principle of dispersed attention holds , right to the end . No authority can govern the Fair , or the play ...
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 |