Introduction to English Renaissance ComedyManchester University Press, 1999 - 186 Seiten 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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Seite 13
... nature as a play for the court and a play for the public . Through the central figure of Cynthia , moon - goddess and avatar of Queen Elizabeth , it participates in the quasi- religious cult of adoration that surrounded the ageing ...
... nature as a play for the court and a play for the public . Through the central figure of Cynthia , moon - goddess and avatar of Queen Elizabeth , it participates in the quasi- religious cult of adoration that surrounded the ageing ...
Seite 111
... nature are matters of hot dispute . Even the idealized vision of nature Prospero presents for the lovers includes images of agricultural labour.5 Gonzalo's ideal commonwealth is like Oberon's vision of the imperial votaress untouched by ...
... nature are matters of hot dispute . Even the idealized vision of nature Prospero presents for the lovers includes images of agricultural labour.5 Gonzalo's ideal commonwealth is like Oberon's vision of the imperial votaress untouched by ...
Seite 119
... nature we never quite see . He determines the way they appear to us , and in that way his hold over the audience is greater than Bacon's ; but his power in the long run is no less problematic . Up to a point , he has unusual control ...
... nature we never quite see . He determines the way they appear to us , and in that way his hold over the audience is greater than Bacon's ; but his power in the long run is no less problematic . Up to a point , he has unusual control ...
Inhalt
Lyly Endymion | 19 |
Greene Friar Bacon and Friar Bungay | 30 |
Shakespeare A Midsummer Nights Dream | 61 |
Urheberrecht | |
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Häufige Begriffe und Wortgruppen
actors Altofront Antonio Aretina Ariel audience Aurelia authority Bacon and Friar Bartholomew Fair beggars Ben Jonson Bornwell Bungay Caliban Celestina centre characters claims comic Country Wench court courtiers Cynthia Demetrius devil Dipsas disguise Drama Duke Egeus Elizabeth Elizabethan Endymion English Renaissance Eumenides fairies Ferdinand Friar Bacon Friar Bungay gives Greene's Helena Hell Hermia Hippolyta identity imagine John Lyly John Marston Jonson Kickshaw King Lacy lady Lady of Pleasure land Lethe London lord lovers Lyly Lyly's Lysander magic Malcontent Malevole Margaret marriage Marston masque Mendoza Michaelmas Term Middleton Midsummer Night's Dream Miranda moon Oberon Oldrents performance Pietro play play's playhouse political Prospero puppet Pyramus and Thisbe Quarlous Queen Quomodo recalls relationship Renaissance comedy role satire scene seems sense sexual Shakespeare Shortyard sleep social society speech spirits stage Stephano suggests tells Tellus Tempest theatre thee Theseus thou Titania tradition Trinculo Ursula watch Winwife women