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 5
... gives English Renaissance comedy an intellectual structure to expand the implications of the plot , the tradition of romance ( dramatic and non - dramatic ) brings in a sense of plotting quite alien to New Comedy . Instead of a tightly ...
... gives English Renaissance comedy an intellectual structure to expand the implications of the plot , the tradition of romance ( dramatic and non - dramatic ) brings in a sense of plotting quite alien to New Comedy . Instead of a tightly ...
Sida 23
... gives him permission to go on doing what he has been doing all along : ' Persevere , Endymion , in loving me ' ( 5.4.179 ) . With the permission goes a promise : ' Endymion , continue as thou hast begun , and thou shalt find that ...
... gives him permission to go on doing what he has been doing all along : ' Persevere , Endymion , in loving me ' ( 5.4.179 ) . With the permission goes a promise : ' Endymion , continue as thou hast begun , and thou shalt find that ...
Sida 181
... gives up the beggar life and Aretina , whether or not she will give up London , is prepared to give up its pleasures . Even Helena , having regained Demetrius , renounces total possession of him : he is ' Mine own , and not mine own ...
... gives up the beggar life and Aretina , whether or not she will give up London , is prepared to give up its pleasures . Even Helena , having regained Demetrius , renounces total possession of him : he is ' Mine own , and not mine own ...
Innehåll
Lyly Endymion | 19 |
Greene Friar Bacon and Friar Bungay | 30 |
Shakespeare A Midsummer Nights Dream | 61 |
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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 |