Shakespearian ComedyFirst published in 1938. This is a survey of Shakepeare's comedies which illustrates the playwright's increasing grasp on the art and idea of comedy. Themes, characters and plays covered include: Romanticism in Shakespearian comedy; Shakespeare's Jew, Falstaff, The Taming of the Shrew, A Midsummer Night's Dream, and The Dark Comedies. |
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... sense can be called historical research. The lives of the poets are to be traced from documents and registers in the Record Office; the social, economic, political and religious background of their time is to be similarly constructed ...
... sense can be called historical research. The lives of the poets are to be traced from documents and registers in the Record Office; the social, economic, political and religious background of their time is to be similarly constructed ...
Page 11
... sense the actors in it do look more or less like human beings ; wherefore , to consider them as images of men and women seems the safest way of trying to understand them . There is much virtue in this safety for a merely academic person ...
... sense the actors in it do look more or less like human beings ; wherefore , to consider them as images of men and women seems the safest way of trying to understand them . There is much virtue in this safety for a merely academic person ...
Page 14
... sense of a con- trolling objective as the law of poetic form which was the essential motive of Aristotle's theory of Katharsis , though it was his opposition to Plato which determined the particular formulation of it . The impulse for ...
... sense of a con- trolling objective as the law of poetic form which was the essential motive of Aristotle's theory of Katharsis , though it was his opposition to Plato which determined the particular formulation of it . The impulse for ...
Page 17
... sense of the comic or ludicrous at the same time as a new sensibility for the romantic . It weighed less heavily in Spain and in France than in England and in Italy . In Spain , the theatre had never established itself as the provider ...
... sense of the comic or ludicrous at the same time as a new sensibility for the romantic . It weighed less heavily in Spain and in France than in England and in Italy . In Spain , the theatre had never established itself as the provider ...
Page 18
... sense of humour not inconsistent with illiteracy . Italian audiences were prouder of the exquisiteness of their literary taste . Moreover , English audiences wanted fun on the stage , the boisterous horseplay of miracle and morality and ...
... sense of humour not inconsistent with illiteracy . Italian audiences were prouder of the exquisiteness of their literary taste . Moreover , English audiences wanted fun on the stage , the boisterous horseplay of miracle and morality and ...
Contents
9 | |
19 | |
THE RECOIL FROM ROMANTICISM | 44 |
THE TAMING OF THE SHREW | 73 |
A MIDSUMMER NIGHTS DREAM | 100 |
SHAKESPEARES JEW | 123 |
FALSTAFF | 161 |
THE DARK COMEDIES | 208 |
THE CONSUMMATION | 266 |
INDEX | 299 |
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Common terms and phrases
action Antonio appears artistic audience become beginning better blood bond brings called character circumstance claim comedy comes comic common course criticism dramatic dramatist effect Elizabethan English existence experience eyes fact faith Falstaff feeling fellows figure give hand happiness hath heart hero heroines honour human ideal imagination instance instinct intuition Italy John kind King lady least less live lost lovers man's material matter means Measure mere merely mind mood moral nature never once particular passion perhaps Plautus play plot present problem reason romantic scene secure seems sense sentiment Shakespeare Shrew Shylock situation social society sort spirit stage story Taming thee things thou thought tion tradition tragedy Troilus turn values virtue wooing worth young