Shakespeare's Comedy of LoveRoutledge, 11.10.2013 - 288 Seiten First published in 1987. |
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Seite 11
... thee , tempt me not . Dromio s : Master , is this Mistress Satan ? Antipholus s : It is the devil . ANTIPHOLUS S : ( IV . iii . 37-45 ) Here , the attitude of each character is comically dislocated . The courtesan is simply living her ...
... thee , tempt me not . Dromio s : Master , is this Mistress Satan ? Antipholus s : It is the devil . ANTIPHOLUS S : ( IV . iii . 37-45 ) Here , the attitude of each character is comically dislocated . The courtesan is simply living her ...
Seite 11
... thee will be left . ( II . i . 34-41 ) One of the most persistent comic points in Shakespeare is the dis- parity between theory and reality , the breakdown of philosophy in the face of experience - particularly when the experience is ...
... thee will be left . ( II . i . 34-41 ) One of the most persistent comic points in Shakespeare is the dis- parity between theory and reality , the breakdown of philosophy in the face of experience - particularly when the experience is ...
Seite 16
... thee beget ' ( V . i . 194 ) and Cymbe- line , reunited with his children , exclaims ' O , what am I ? / A mother to the birth of three ? ' ( v . v . 238-9 ) . As the Abbess takes centre stage away from the Duke 16 SHAKESPEARE'S COMEDY ...
... thee beget ' ( V . i . 194 ) and Cymbe- line , reunited with his children , exclaims ' O , what am I ? / A mother to the birth of three ? ' ( v . v . 238-9 ) . As the Abbess takes centre stage away from the Duke 16 SHAKESPEARE'S COMEDY ...
Seite 34
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Inhalt
6 | |
9 | |
10 | |
21 | |
The Taming of the Shrew | 41 |
Loves Labours Lost | 63 |
A Midsummer Nights Dream | 89 |
The Merchant of Venice | 117 |
Much Ado About Nothing | 151 |
As You Like It | 185 |
Twelfth Night | 221 |
beyond Twelfth Night | 255 |
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accept action Antonio appears audience awareness Bassanio Beatrice becomes Benedick Berowne characters Claudio comedy comes comic convention court create depends disguise dream Duke earlier effect experience expression eyes fact feeling figure final follow formal friends give hand harmony hear heart Hero human idea important joke keep kind lady language less letter limited London look lord Love's Labour's Lost lovers Malvolio manner marriage means mind moving nature never night Olivia once opening Orlando pattern Petruchio Plautus play play's plot Portia presents Proteus provides reality reason reminds role romantic Rosalind scene seems seen sense serious Shakespeare Shylock side simply speak speech sport stage story suggests thee thing thou throughout touch true turn Venice Viola vision