Shakespeare's Agonistic Comedy: Poetics, Analysis, Criticism
Fairleigh Dickinson Univ Press, 1993 - 302 էջ
In one respect, the purpose of this book is to define the characteristics and to map the canon of Shakespeare's agonistic comedy; in other words, to provide a poetics. Such a task has its own importance and preliminary value if fundamental patterns and functions have not been recognized as such in the critical analysis of a body of texts. Part I of Shakespeare's Agonistic Comedy identifies the structural characteristics of the provisionally outlined canon, focuses on apparently borderline cases (Petruchio and Katherina, Benedick and Beatrice, Jaques and Don John, as well as that of Love's Labour's Lost) in order to define the canon more precisely, defines the distinctive perspective generated by agonistic comedy, and examines the thematic and referential patterns that may appear prima facie to be characteristic of this comedy: violence and revenge. Throughout this section dealing with poetics, Beiner emphasizes that agonistic comedy is capable of being self-complete and independent and yet in Shakespearean comedy it never generates an entire play; nor does it appear in every play from Errors to Twelfth Night. A poetics of Shakespeare's agonistic comedy is necessarily related to the wider field of a poetics of Shakespearean comedy, which in turn is related to the even wider area of comic traditions.
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The Agonistic Perspective ReaderSpectator Response
Violence in the Comedy of Love Errors to Twelfth Night Referential and Thematic Patterns
Comic Revenge and Agons Referential and Thematic Patterns Continued
The Major Texts
The Merry Wives of Windsor
The Merchant of Venice
Common terms and phrases
action agon agonistic antagonist Antonio appear attitude authority awareness basic becomes beginning behavior certainly characters Christian clarification comedy of love comes comic complete concerned confrontation connected contrast conventional created critical danger deal defeat desire developments direct distinction Dream effect error especially evidence Falstaff festive fiction figure final force fortune function genre given gives goal human husband important indicates initial instance involving issue kind lead least less Malvolio manipulation marriage means Merchant Merry negative Night Olivia pattern perspective play plot poetics Portia positive possible present problem provides punishment reason reference relation relationship remark removed resolution respect response revenge ridiculous romance saturnalian says scene seen sense Shakespeare's Shakespearean comedy Shrew Shylock social specific strategy structure supposed threat tradition turn Twelfth University Press values Venice violence wives young
Էջ 178 - Out upon her ! Thou torturest me, Tubal. It was my turquoise ; I had it of Leah, when I was a bachelor. I would not have given it for a wilderness of monkeys.
Էջ 187 - Though justice be thy plea, consider this,— That, in the course of justice, none of us Should see salvation : we do pray for mercy; And that same prayer doth teach us all to render The deeds of mercy.
Էջ 256 - Both on one sampler, sitting on one cushion, Both warbling of one song, both in one key; As if our hands, our sides, voices, and minds, Had been incorporate. So we grew together, Like to a double cherry, seeming parted; But yet a union in partition, Two lovely berries moulded on one stem; So, with two seeming bodies, but one heart; Two of the first, 2 like coats in heraldry, Due but to one, and crowned with one crest.
Էջ 134 - If a Jew wrong a Christian, what is his humility ? revenge : If a Christian wrong a Jew, what should his sufferance be by Christian example ? why, revenge. The villainy, you teach me, I will execute; and it shall go hard, but I will better the instruction.
Էջ 216 - You have said, sir. — To see this age ! — A sentence is but a cheveril glove to a good wit : how quickly the wrong side may be turned outward ! Vio.
Էջ 171 - Or Shall I bend low and in a bondman's key, With bated breath and whispering humbleness, Say this; 'Fair sir, you spit on me on Wednesday last; You spurn'd me such a day; another time You call'd me dog; and for these courtesies I'll lend you thus much moneys'?