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 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 ...
Seite 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 ...
Seite 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 ...
Inhalt
Lyly Endymion | 19 |
Greene Friar Bacon and Friar Bungay | 30 |
Shakespeare A Midsummer Nights Dream | 61 |
Urheberrecht | |
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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