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The Metamorphoses of Shakespearean Comedy by William C. Carroll Pdf
This book argues that the idea of metamorphosis is central to both the theory and practice of Shakespearean comedy. It offers a synthesis of several major themes of Shakespearean comedy--identity, change, desire, marriage, and comic form--under the master trope of transformation. Originally published in 1985. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
The Oxford Handbook of Shakespearean Comedy by Heather Hirschfeld Pdf
The Oxford Handbook of Shakespearean Comedy offers critical and contemporary resources for studying Shakespeare's comic enterprises. It engages with perennial, yet still urgent questions raised by the comedies and looks at them from a range of new perspectives that represent the most recent methodological approaches to Shakespeare, genre, and early modern drama. Several chapters take up firmly established topics of inquiry such Shakespeare's source materials, gender and sexuality, hetero- and homoerotic desire, race, and religion, and they reformulate these topics in the materialist, formalist, phenomenological, or revisionist terms of current scholarship and critical debate. Others explore subjects that have only relatively recently become pressing concerns for sustained scholarly interrogation, such as ecology, cross-species interaction, and humoral theory. Some contributions, informed by increasingly sophisticated approaches to the material conditions and embodied experience of theatrical practice, speak to a resurgence of interest in performance, from Shakespeare's period through the first decades of the twenty-first century. Others still investigate distinct sets of plays from unexpected and often polemical angles, noting connections between the comedies under inventive, unpredicted banners such as the theology of adultery, early modern pedagogy, global exploration, or monarchical rule. The Handbook situates these approaches against the long history of criticism and provides a valuable overview of the most up-to-date work in the field.
The Evolution of Shakespeare's Comedy by Larry S. Champion Pdf
The evolution of Shakespeare's comedy, in Larry Champion's view, is apparent in the expansion of his comic vision to include a complete reflection of human life while maintaining a comic detachment for the audience. Like the other popular dramatists of Elizabethan England, Shakespeare used the diverse comic motifs and devices which time and custom had proved effective. He went further, however, and created progressively deeper levels of characterization and plot interaction, thereby forming characters who were not merely devices subordinated to the needs of the plot. Shakespeare's development as a comic playwright, suggests Champion, was "consistently in the direction of complexity or depth of characterization." His earliest works, like those of his contemporaries, are essentially situation comedies: the humor arises from action rather than character. There is no significant development of the main characters; instead, they are manipulated into situations which are humorous as a result, for example, of mistaken identity or slapstick confusion. The ensuing phase of Shakespeare's comedy sets forth plots in which the emphasis is on identity rather than physical action, a revelation of character which occurs in one of two forms: either a hypocrite is exposed for what he actually is or a character who has assumed an unnatural or abnormal pose is forced to realize and admit the ridiculousness of his position. In the final comedies involving sin and sacrificial forgiveness, however, character development is concerned with a "transformation of values." Although each of the comedies is discussed, Champion concentrates on nine, dividing them according to the complexity of characterization. He pursues as well the playwright's efforts to achieve for the spectator the detached stance so vital to comedy. Shakespeare obtained this perspective, Champion observes, through experimentation with the use of material mirroring the main action--mockery, parody, or caricature--and through the use of a "comic pointer" who is himself involved in the action but is sufficiently independent of the other characters to provide the audience with an omniscient view.
Metamorphosis in Shakespeare's Plays by Elizabeth Truax Pdf
Images of metamorphosis characterize Shakespeare's drama on every level. Once the image is established by simile, metaphor, or direct allusion, it is then transformed into the stuff of theatre. The images are charged with tension, excitement, and sometimes humour. The protagonists assume the posture of the pagan gods, heroes and others, depicted in literature and the visual arts and attempt to play roles for which they are often ill-suited or unprepared. After trial and learning they undergo genuine transformations as a result of actions for which they are responsible, and learn valuable lessons. This is an approach to Shakespeare's use of metamorphosis, using The Taming of the Shrew, Midsummer Night's Dream, The Merchant of Venice, Hamlet, A Winter's Tale, and others to demonstrate transformations on several levels.
In this lucid and original study, first published in 1972, Ralph Berry discusses the ten comedies that run from The Comedy of Errors to Twelfth Night. Berry’s purpose is to identify the form of each play by relating the governing idea of the play to the action that expresses it. To this end the author employs a variety of standpoints and techniques, and taken together, these chapters present a lively and coherent view of Shakespeare’s techniques, concerns, and development. This title will be of interests to students of literature and drama.
First 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.
Shakespeare & the Uses of Comedy by Joseph Allen Bryant Pdf
In Shakespeare's hand the comic mode became an instrument for exploring the broad territory of the human situation, including much that had normally been reserved for tragedy. Once the reader recognizes that justification for such an assumption is presented repeatedly in the earlier comedies -- from The Comedy of Errors to Twelfth Night -- he has less difficulty in dispensing with the currently fashionable classifications of the later comedies as problem plays and romances or tragicomedies and thus in seeing them all as manifestations of a single impulse. Bryant shows how Shakespeare, early a.
According To The Social Historians Of England, After The Economic And Religious Unrest Of The Middle Tudor Period, The Freedom Preached By The Humanists Rejuvenated In A Way The Moral Of The Entire Nation. And Shakespeare Having Chanced Upon The Best Time In Which To Live Had Ample Opportunity To Exercise, With Least Distraction And Most Encouragement, The Highest Faculties Of Man. His Comedies, Therefore, Register Most Comprehensively The Characteristics Of The Congenial Social Atmosphere Of His Time. The Saturnalia Presented In His Comedies Are Not Inimical To The Positive Aspects Of A New Bourgeois Social Set-Up, Which Facilitated The Notions Of Peace And Order. But Inside The Large England, Which Still Retained The Remnants Of Monarchy And/Or Aristocracy, Society Was Afflicted By Many Discordant Elements, Which Shakespeare Never Failed To Notice And Record. As An Assiduous Comic Playwright, He Infused In His Saturnalia The Hints Of Many Social Injustices, The Oppressive Patriarchy (Egeon And His Diktats Against His Daughter For Daring To Choose Her Own Husband In A Midsummer Night S Dream), The Crisis Of Aristocracy (Sir Toby And His Likes), The Degeneration Of Moral Values Leading To An Erosion Of Social Values In A Mercantile Society, And The Historical Retrospection Of The Turbulent Past.The Infusion Though Pronounced In His Early Comedies Is Not Entirely Absent In The Middle Comedies, Which Contain Elements Of Social Realism Behind A Romantic Exterior. The Audience Would Naturally Realize That Both The Early And The Middle Comedies Of Shakespeare Were Interlinked In The Context Of The Social Realism Of The Elizabethan Period. The Delicate Relationship Of Oberon And Titania In A Midsummer Night S Dream, For Instance, Represent A Different Version Of Matrimony Throughout Causing The Reader To Question The Validity Of The Institution. Likewise In The Taming Of The Shrew One Is At A Loss At The End Of The Play When Kate Appears To Be More Subservient Than Either Her Sister Or The Widow. Has Marriage Actually Tamed Her Or Has She Relinquished Her Past Misdemeanours Willingly Because She Has Fallen In Love With Petruchio? The World In Twelfth Night Is Also Clearly Demarcated Into Two Classes The Landowning Wealthy Aristocrats And The Titular Aristocrats Whom Lawrence Classifies As The Declassed Aristocrats . The Historical Retrospection Of The Past Is Made Clearer At This Apparently Incongruent Point, Than In All Other Romantic Comedies. The Book Would Definitely Prove Valuable To Students And Teachers Concerned With Shakespearean Works.
Shakespeare and the Comedy of Enchantment by Kent Cartwright Pdf
Shakespeare and the Comedy of Enchantment argues that enchantment constitutes a key emotional and intellectual dimension of Shakespeare's comedies. It thus makes a new claim about the rejuvenating value of comedy for individuals and society. Shakespeare's comedies orchestrate ongoing encounters between the rational and the mysterious, between doubt and fascination, with feelings moved by elements of enchantment that also seem a little ridiculous. In such a drama, lines of causality become complex, and even satisfying endings leave certain matters incomplete and contingent—openings for scrutiny and thought. In addressing enchantment, the book takes exception to the modernist vision of a deterministic 'disenchanted' world. As Shakespeare's action advances, comic mysteries accrue—uncanny coincidences; magical sympathies; inexplicable repetitions; psychic influences; and puzzlements about the meaning of events—all of whose numinous effects linger ambiguously after reason has apparently answered the play's questions. Separate chapters explore the devices, tropes, and motifs of enchantment: magical clowns who alter the action through stop-time interludes; structural repetitions that suggest mysteriously converging, even opaquely providential destinies; locales that oppose magical and protean forces to regulatory and quotidian values; desires, thoughts, and utterances that 'manifest' comically monstrous events; characters who return from the dead, facilitated by the desires of the living; play-endings crossed by harmony and dissonance, with moments of wonder that make possible the mysterious action of forgiveness. Wonder and wondering in Shakespeare's and other comedies, it emerges, become the conditions for new possibilities. Chapters refer extensively to early modern history, Renaissance and modern theories of comedy, treatises on magical science, and contemporaneous Italian and Tudor comedy.
A Preface to Shakespeare's Comedies by Michael Mangan Pdf
This is an informative and interesting guide to the comedies of love - The Two Gentlemen of Verona, The Taming of the Shrew, Love's Labour's Lost, A Midsummer Nights Dream, Much Ado About Nothing, As You Like it and Twelfth Night - which were written in the early part of Shakespeare's career. As well as supplying dramatic and critical analysis, this study sets the plays within their wider social and artistic context. Michael Mangan begins by considering the social function of laughter, the use of humour in drama for handling social tensions in Elizabethan and Jacobean society and the resulting expectations the audience would have had about comedy in the theatre. In the second section he discusses the individual plays in the light of recent critical and theoretical research. The useful reference section at the end gives the reader a short bibliographic guide to key historical figures relevant to a study of Shakespeare's comedies and a detailed critical bibliography.
