Comparative Critical Approaches to Renaissance Comedy

action actors appear associations audience become bring called cause century character comes comic commedia common create critical cultural desire disguise double drama Dutch early elements Elizabethan English entirely example experience expression fact figure force function genre gold Hamlet hand human identity important individual intrigue Italian Italy kind language laughter literary lovers magic master material means mind models moral move narrative nature Notes original pastoral performance period person Plautus play playwright plot possible practical present produced Prospero question reading reality Renaissance comedy revenge role romantic scene sense servant Shakespeare signs social society sorcerer space Spanish spectators stage story structure suggest takes theatre theatregrams theatrical things tion tradition tragedy transformation translation trickster turn University young