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 17 筆
... dominant figures , Northrop Frye and C. L. Barber . While everyone recognizes the strength of their influence , no one has shown how their theories of comedy have concentrated critical attention on closure . The results of that ...
... dominant throughout . Here Bassanio and Gratiano , the onstage performers , must improvise roles that will explain or justify the loss of their rings . Rabkin suggests that " Lorenzo's dialogue with Jessica . helps both to undercut the ...
... dominant realism of the comedy as a whole . Thus Harriet Haw- kins , in a sort of catalogue of the structural infelicities that make closure in Measure for Measure so unsatisfying , points especially to the Duke's proposal of marriage ...