Titlebook: Shakespeare, Jonson, Molière; The Comic Contract Nicholas Grene Book 1980 Nicholas Grene 1980 contract.humour.William Shakespeare.British a

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意見一致

Overview: 978-1-349-03603-5

DOTE

Monstrous Regiment,ivity, and the banding together of women is the basis of comic works as different as Erasmus’s colloquy . and Gilbert and Sullivan’s operetta .. To take an example from a minor play, interesting principally as a source for Molière, the feminist call to arms of Emilie in Chappuzeau’s . is intended as typically absurd:

ICLE

Two Plays in Search of an Audience,. Yet if we presuppose that Molière and Shakespeare intended us to stand some where, that the plays are not merely incoherent creative accidents, then it is worth trying to establish the sort of audience contract they imply.

Chromatic

The Comic Contract,s of anarchy and licence — the paradox is so familiar to us that it scarcely registers as a paradox. No one is likely to be startled by the gap between Aristophanes’ social conservatism and the exploded image of society which his plays present. Central to ‘festive comedy’ is the period of allowed mi

一回合

The Triumph of Nature,efies the natural decorum of like to like when he marries a young wife; the tyrannical father tries to prevent the natural rhythm of the generations when he opposes the marriage of his son or daughter; the fop, the hypocrite or the pedant by their absurd behaviour offend against a social idea of nat

BAIT

Comic Controllers,nolphe who believes in the possibility of total control is defeated at every turn by the sequence of circumstances which moves always to the benefit of spontaneity and unwilled impulse. The crusade ofjustice Overdo to enforce his literal-minded and pedantic code must necessarily end in mockery. Almo

GULLY

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