The Happy End of Comedy: Jonson, Molière, and ShakespeareUniversity of Delaware Press, 1984 - 177 Seiten From the They lived happily ever after of the fairy tale to the careful accounting of fates and disposing of fortunes at the end of a Victorian novel, obvious formal devices signal the approaching conclusion of the work of art. When the work is comic, one in which anything can happen, the nature of the conclusion is governed by one overriding convention: there must be a happy ending. Zvi Jagendorf's theoretical study observes the ways in which the author of the comic drama meets this requirement and molds the conventional necessity of ending to fit the work as it has developed. |
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Seite 149
... Viola , who is the prisoner of her assumed sex . The sense of being trapped , of a knot that cannot be untied , is al- ready a factor of the opening situations . Orsino is shown caught in a hopeless passion and Olivia is exposed in her ...
... Viola , who is the prisoner of her assumed sex . The sense of being trapped , of a knot that cannot be untied , is al- ready a factor of the opening situations . Orsino is shown caught in a hopeless passion and Olivia is exposed in her ...
Seite 151
... Viola and Sir Andrew is an offshoot of the comic energy that gulls Malvolio . But the stage picture of the natural fool and the masquerading girl facing each other with drawn swords is impor- tant for its own sake . It summarizes the ...
... Viola and Sir Andrew is an offshoot of the comic energy that gulls Malvolio . But the stage picture of the natural fool and the masquerading girl facing each other with drawn swords is impor- tant for its own sake . It summarizes the ...
Seite 154
... Viola : Do not embrace me till each circumstance Of place , time , fortune , do cohere and jump That I am Viola . ( 5.1.251-53 ) Viola in the most important refusal of change remains in her boy's disguise , Cesario , till the end ...
... Viola : Do not embrace me till each circumstance Of place , time , fortune , do cohere and jump That I am Viola . ( 5.1.251-53 ) Viola in the most important refusal of change remains in her boy's disguise , Cesario , till the end ...
Inhalt
A Theoretical Introduction to the Study of Ending | 11 |
How Comedies | 33 |
Endings in Jonsons Comedy | 44 |
Urheberrecht | |
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Häufige Begriffe und Wortgruppen
absurd Alceste Alceste's Alchemist Arnolphe Arnolphe's audience Bartholomew Fair beginning Benedick carnival Célimène Célimène's characters Claudio climactic Comedy of Errors comic endings comic plot confrontation convention created death defeat denouement device discovery disguise display dramatic elaborate end of comedy Epicoene epilogue epitasis evil exit exposed exposure false farce feeling final scene folly fool formal George Dandin gesture happy ending humor illusion impasse ironic Jonson kind knave knot L'École des femmes Le Malade imaginaire Le Misanthrope Leontes logic lovers Lovewit marriage mask Measure for Measure Midsummer Night's Dream mock Molière Molière's moral Morose movement obsession Orgon Overdo pattern play play's puppet recognition release repetition revelation riot and deadlock romantic comedy Rosalind satire Scapin sequence Shakespeare's comedies situation spectacle spectator stage structure Tartuffe tension theater tion trap trick trickery trickster Truewit truth turn Twelfth Night unmasking victims victory Viola violent Volpone Volpone's wife witty