Shakespeare and the Ends of ComedyIndiana University Press, 1991 - 158 頁 "This is a congenial, lucidly written work, the product of careful thought and attention to performance." --Shakespeare Bulletin "... Jensen has done a service by reminding readers of the variety and richness of the comedy and comic devices in Shakespeare's plays." --Choice "The ear that Jensen brings to the plays themselves results in close readings that are always insightful and stimulate new questions." --English Language Notes "Here is a genuinely readable and enjoyable book... humane, balanced, unpolemical, good humored, and fundamentally sane." --Charles R. Forker "... Jensen has produced a sensitive and eminently readable book that will no doubt figure prominently in future attempts to understand Shakespeare's comic practice." --Shakespeare Yearbook Jensen questions a persistent critical emphasis that finds the meanings of Shakespeare's comedies in their endings. Analyzing The Merchant of Venice, Much Ado about Nothing, As You Like It, Twelfth Night, and Measure for Measure, he shows how much vitality is sacrificed when critics assume that "the end crowns the work." |
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第 1 到 3 筆結果,共 19 筆
... disguise . At some point , though , Beatrice sees through that dis- guise . Just when this happens or how she recognizes her antagonist is unclear from the text . Antonio's disguise proved inadequate to conceal his identity from Ursula ...
... disguise — he declines : at least so far as the text indicates ; an actor might be free to improvise . But he ignores little else , from Viola's impatience as a loyal messenger and her jealousy of a beautiful rival to Olivia's mocking ...
... disguise is a complicating feature of Measure for Measure on several grounds . It is , for example , firmly in the category of conventional theatrical tactics , and in nearly every case where conventional matters come into play in ...