Shakespeare's Comedy of LoveRoutledge, 11. 10. 2013 - Počet stran: 288 First published in 1987. |
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Strana xi
... play itself; on the other hand, if he tries to make us appreciate the fun of the play, he may be like the sort of host who makes his guests acutely uncomfortable by asking every five minutes if they are enjoying themselves. These are ...
... play itself; on the other hand, if he tries to make us appreciate the fun of the play, he may be like the sort of host who makes his guests acutely uncomfortable by asking every five minutes if they are enjoying themselves. These are ...
Strana xii
... play. Even within particular plays the ground keeps changing: much of the dramatic life of a play like As You Like It (as I will try to show in a later chapter) depends on swift, unpredictable shifts in idiom, from casual naturalism to ...
... play. Even within particular plays the ground keeps changing: much of the dramatic life of a play like As You Like It (as I will try to show in a later chapter) depends on swift, unpredictable shifts in idiom, from casual naturalism to ...
Strana xiii
... play after play; but never in quite the same way twice. Shakespeare may begin by examining romantic love; but he ends by examining the materials of his own art, and each play is a fresh experiment, a fresh interplay of opposing styles ...
... play after play; but never in quite the same way twice. Shakespeare may begin by examining romantic love; but he ends by examining the materials of his own art, and each play is a fresh experiment, a fresh interplay of opposing styles ...
Strana 3
... play has a single vision and a uniform texture. But Shakespeare gives us a play in a more mixed dramatic idiom. The ... play's immediate comic life depends on them; but they are also signals of a deeper breakdown of understanding; the ...
... play has a single vision and a uniform texture. But Shakespeare gives us a play in a more mixed dramatic idiom. The ... play's immediate comic life depends on them; but they are also signals of a deeper breakdown of understanding; the ...
Strana 11
... play, there was discontent in his words, 'So I, to find a mother and a brother, / In quest of them, unhappy, lose myself ' (I. ii. 39—40). But now he is eager to lose himself in a more profound way, transformed by love. 8 There is ...
... play, there was discontent in his words, 'So I, to find a mother and a brother, / In quest of them, unhappy, lose myself ' (I. ii. 39—40). But now he is eager to lose himself in a more profound way, transformed by love. 8 There is ...
Obsah
1 | |
2 The Two Gentlemen of Verona | 21 |
3 The Taming of the Shrew | 41 |
4 Loves Labours Lost | 63 |
5 A Midsummer Nights Dream | 89 |
6 The Merchant of Venice | 117 |
7 Much Ado About Nothing | 151 |
8 As You Like It | 185 |
9 Twelfth Night | 221 |
beyond Twelfth Night | 255 |
Index | 269 |
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Antonio appears artifice audience awareness Bassanio Beatrice and Benedick behaviour Belmont Berowne Berowne’s Bianca Cesario characters Claudio clowns Comedy of Errors comic convention courtship detachment disguise dislocation Don Pedro doth dramatic idiom Dromio Duke effect Ephesus experience eyes fairies fantasy father feeling figure final scene finally find first scene formal Ganymede Gentlemen of Verona give harmony hath Hermia Hero idea joke Julia Katherina kind lady London lord Love’s Labour’s Lost lovers Malvolio marriage Merchant of Venice Midsummer Night’s Dream mind mockery nature Olivia Orlando Orsino pattern Petruchio play’s plot Portia Proteus Proteus’s reality reflects rhyme role romantic love Rosalind satiric seen sense Shakespeare Shakespeare’s comedies Shakespearian comedy Shrew Shylock Silvius simply Sir Andrew Sir Toby speech sport story stylized suggests Taming thee Theseus thou throughout the play Touchstone Twelfth Night Venice Viola vision words