Four Comedies


Book Description

The Taming of the Shrew Robust and bawdy, The Taming of the Shrew captivates audiences with outrageous humor as Katharina, the shrew, engages in a contest of wills–and love–with her bridegroom, Petruchio, in a comedy of unmatched theatrical brilliance, filled with visual gags and witty repartee. A Midsummer Night's Dream Fairy magic, love spells, and an enchanted wood turn the mismatched rivalries of four young lovers into a marvelous mix-up of desire and enchantment, all touched by Shakespeare’s inimitable vision of the intriguing relationship between dreams and the waking world. The Merchant of Venice This dark comedy of love and money contains one of the truly mythic figures in literature–Shylock, the Jewish moneylender. The “pound of flesh” he demands as payment of Antonio’s debt has become a universal metaphor for vengeance. Here, pathos and farce combine with moral complexity and romantic entanglements, to display the extraordinary power and range of Shakespeare at his best. Twelfth Night Set in a topsy-turvy world like a holiday revel, this comedy juxtaposes a romantic plot involving separated twins and mistaken identity with a more satiric one about the humiliation of a pompous killjoy. The hilarity is touched with melancholy, and the play ends, not with laughter, but with a clown’s plaintive song. Each Edition Includes: • Comprehensive explanatory notes • Vivid introductions and the most up-to-date scholarship • Clear, modernized spelling and punctuation, enabling contemporary readers to understand the Elizabethan English • Completely updated, detailed bibliographies and performance histories • An interpretive essay on film adaptations of the play, along with an extensive filmography




Shakespearean Comedies


Book Description

According To The Social Historians Of England, After The Economic And Religious Unrest Of The Middle Tudor Period, The Freedom Preached By The Humanists Rejuvenated In A Way The Moral Of The Entire Nation. And Shakespeare Having Chanced Upon The Best Time In Which To Live Had Ample Opportunity To Exercise, With Least Distraction And Most Encouragement, The Highest Faculties Of Man. His Comedies, Therefore, Register Most Comprehensively The Characteristics Of The Congenial Social Atmosphere Of His Time. The Saturnalia Presented In His Comedies Are Not Inimical To The Positive Aspects Of A New Bourgeois Social Set-Up, Which Facilitated The Notions Of Peace And Order. But Inside The Large England, Which Still Retained The Remnants Of Monarchy And/Or Aristocracy, Society Was Afflicted By Many Discordant Elements, Which Shakespeare Never Failed To Notice And Record. As An Assiduous Comic Playwright, He Infused In His Saturnalia The Hints Of Many Social Injustices, The Oppressive Patriarchy (Egeon And His Diktats Against His Daughter For Daring To Choose Her Own Husband In A Midsummer Night S Dream), The Crisis Of Aristocracy (Sir Toby And His Likes), The Degeneration Of Moral Values Leading To An Erosion Of Social Values In A Mercantile Society, And The Historical Retrospection Of The Turbulent Past.The Infusion Though Pronounced In His Early Comedies Is Not Entirely Absent In The Middle Comedies, Which Contain Elements Of Social Realism Behind A Romantic Exterior. The Audience Would Naturally Realize That Both The Early And The Middle Comedies Of Shakespeare Were Interlinked In The Context Of The Social Realism Of The Elizabethan Period. The Delicate Relationship Of Oberon And Titania In A Midsummer Night S Dream, For Instance, Represent A Different Version Of Matrimony Throughout Causing The Reader To Question The Validity Of The Institution. Likewise In The Taming Of The Shrew One Is At A Loss At The End Of The Play When Kate Appears To Be More Subservient Than Either Her Sister Or The Widow. Has Marriage Actually Tamed Her Or Has She Relinquished Her Past Misdemeanours Willingly Because She Has Fallen In Love With Petruchio? The World In Twelfth Night Is Also Clearly Demarcated Into Two Classes The Landowning Wealthy Aristocrats And The Titular Aristocrats Whom Lawrence Classifies As The Declassed Aristocrats . The Historical Retrospection Of The Past Is Made Clearer At This Apparently Incongruent Point, Than In All Other Romantic Comedies. The Book Would Definitely Prove Valuable To Students And Teachers Concerned With Shakespearean Works.




The Evolution of Shakespeare's Comedy


Book Description

The evolution of Shakespeare's comedy, in Larry Champion's view, is apparent in the expansion of his comic vision to include a complete reflection of human life while maintaining a comic detachment for the audience. Like the other popular dramatists of Elizabethan England, Shakespeare used the diverse comic motifs and devices which time and custom had proved effective. He went further, however, and created progressively deeper levels of characterization and plot interaction, thereby forming characters who were not merely devices subordinated to the needs of the plot. Shakespeare's development as a comic playwright, suggests Champion, was "consistently in the direction of complexity or depth of characterization." His earliest works, like those of his contemporaries, are essentially situation comedies: the humor arises from action rather than character. There is no significant development of the main characters; instead, they are manipulated into situations which are humorous as a result, for example, of mistaken identity or slapstick confusion. The ensuing phase of Shakespeare's comedy sets forth plots in which the emphasis is on identity rather than physical action, a revelation of character which occurs in one of two forms: either a hypocrite is exposed for what he actually is or a character who has assumed an unnatural or abnormal pose is forced to realize and admit the ridiculousness of his position. In the final comedies involving sin and sacrificial forgiveness, however, character development is concerned with a "transformation of values." Although each of the comedies is discussed, Champion concentrates on nine, dividing them according to the complexity of characterization. He pursues as well the playwright's efforts to achieve for the spectator the detached stance so vital to comedy. Shakespeare obtained this perspective, Champion observes, through experimentation with the use of material mirroring the main action--mockery, parody, or caricature--and through the use of a "comic pointer" who is himself involved in the action but is sufficiently independent of the other characters to provide the audience with an omniscient view.




Names as Metaphors in Shakespeare’s Comedies


Book Description

'Names as Metaphors in Shakespeare’s Comedies' presents a comprehensive study of names in Shakespeare’s comedies. Although names are used in daily speech as simple designators, often with minimal regard for semantic or phonological suggestiveness, their coinage is always based on analogy. They are words (i.e., signs) borrowed from previous referents and contexts, and applied to new referents. Thus, in the literary use of language, names are figurative inventions and have measurable thematic significance: they evoke an association of attributes between two or more referents, contextualize each work of literature within its time, and reflect the artistic development of the writer. In the introduction, Smith describes the literary use of names as creative choices that show the indebtedness of authors to previous literature, as well as their imaginative descriptions (etymologically and phonologically) of memorable character types, and their references to cultural phenomena that make their names meaningful to their contemporary readers and audience. This book presents fourteen essays demonstrating the analytical models explained in the introduction. These essays focus on Shakespeare’s comedies as presented in the First Folio. They do not follow the chronological order of their composition; instead, the individual essays give special attention to differences between the plays that suggest Shakespeare’s artistic development, including the varied sources of his borrowings, the differences between his etymological and phonological coinages, the frequency and types of his topical references, and his use of epithets and generics. This book will appeal to Shakespeare students and scholars at all levels, particularly those who are keen on studying his comedies. This study will also be relevant for researchers and graduate students interested in onomastics. He can be reached at [email protected].




The Metamorphoses of Shakespearean Comedy


Book Description

This book argues that the idea of metamorphosis is central to both the theory and practice of Shakespearean comedy. It offers a synthesis of several major themes of Shakespearean comedy--identity, change, desire, marriage, and comic form--under the master trope of transformation. Originally published in 1985. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.




Shakespeare's Comedies


Book Description

In this lucid and original study, first published in 1972, Ralph Berry discusses the ten comedies that run from The Comedy of Errors to Twelfth Night. Berry’s purpose is to identify the form of each play by relating the governing idea of the play to the action that expresses it. To this end the author employs a variety of standpoints and techniques, and taken together, these chapters present a lively and coherent view of Shakespeare’s techniques, concerns, and development. This title will be of interests to students of literature and drama.




The Cambridge Companion to Shakespearean Comedy


Book Description

An accessible, wide-ranging and informed introduction to Shakespeare's comedies, dark comedies and romances, first published in 2001.




The Cambridge Introduction to Shakespeare's Comedies


Book Description

Why did theatre audiences laugh in Shakespeare's day? Why do they still laugh now? What did Shakespeare do with the conventions of comedy that he inherited, so that his plays continue to amuse and move audiences? What do his comedies have to say about love, sex, gender, power, family, community, and class? What place have pain, cruelty, and even death in a comedy? Why all those puns? In a survey that travels from Shakespeare's earliest experiments in farce and courtly love-stories to the great romantic comedies of his middle years and the mould-breaking experiments of his last decade's work, this book addresses these vital questions. Organised thematically, and covering all Shakespeare's comedies from the beginning to the end of his career, it provides readers with a map of the playwright's comic styles, showing how he built on comedic conventions as he further enriched the possibilities of the genre.




Shakespeare's Comedies


Book Description




The Comedy of Errors


Book Description