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 33 筆
... role of stepfather and thus carries into the play , along with the ugliness of his particular actions , all the cultural baggage that role entails . Thus the blocking figures in As You Like It are more potent than is usually the case ...
... role to one that is both more public and more demanding . Meanwhile , the Duke undertakes precisely the opposite journey , from a public role that he finds in some ways distasteful— " I love the people , / But do not like to stage me to ...
... role : given command in the Duke's absence , he imagines that " he is indeed Justice " and indulges himself in the ... roles prove unsupportable . Each of them involves an absolute identity - unequivocal , and perfect in its simplicity ...