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 31
... centre of authority . In Friar Bacon and Friar Bungay there is no single centre . Power , authority and dramatic interest are dispersed over a wide field . The magic of Friar Bacon , the attractions of Margaret ( heroine of the romantic ...
... centre of authority . In Friar Bacon and Friar Bungay there is no single centre . Power , authority and dramatic interest are dispersed over a wide field . The magic of Friar Bacon , the attractions of Margaret ( heroine of the romantic ...
Sida 46
... centres , and no one centre dominates the others . The play opens with Theseus , its highest temporal authority , not in his public role as ruler but in his private role as a man impatient for his wedding night . Like Endymion depending ...
... centres , and no one centre dominates the others . The play opens with Theseus , its highest temporal authority , not in his public role as ruler but in his private role as a man impatient for his wedding night . Like Endymion depending ...
Sida 150
... centre stage have been delayed and inter- rupted by the entry of fresh characters who keep pulling the focus away from him , and worse follows : ' Mistress Overdo is sick : and her husband is silenc'd ' ( 5.6.69.1 ) . While Prospero is ...
... centre stage have been delayed and inter- rupted by the entry of fresh characters who keep pulling the focus away from him , and worse follows : ' Mistress Overdo is sick : and her husband is silenc'd ' ( 5.6.69.1 ) . While Prospero is ...
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 |