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 16
... suggests that she can be accused of both fickleness and stubbornness . In his sleep he has a vision of Cynthia ... suggests the latter , connecting Endymion's sleep with Cynthia's displeasure and suggesting that one can grow old and die ...
... suggests that she can be accused of both fickleness and stubbornness . In his sleep he has a vision of Cynthia ... suggests the latter , connecting Endymion's sleep with Cynthia's displeasure and suggesting that one can grow old and die ...
Sida 17
... suggests that they are light and dark aspects of the same power . Philippa Berry recalls that ' Hecate , Roman goddess of witchcraft , ... was identified with the third , waning face of the moon : that is , of the triple or “ triformis ...
... suggests that they are light and dark aspects of the same power . Philippa Berry recalls that ' Hecate , Roman goddess of witchcraft , ... was identified with the third , waning face of the moon : that is , of the triple or “ triformis ...
Sida 32
... suggests that he switch identities with the prince to beguile love ( since love does not strike fools ) , the carnivalesque inversion - ' thou shalt put on my cap and my coat and my dagger , and I will put on thy clothes and thy sword ...
... suggests that he switch identities with the prince to beguile love ( since love does not strike fools ) , the carnivalesque inversion - ' thou shalt put on my cap and my coat and my dagger , and I will put on thy clothes and thy sword ...
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 |