Shakespeare's Rhetoric of Comic CharacterRoutledge, 2013 M10 11 - 168 pages First published in 1985. In this revisionist history of comic characterization, Karen Newman argues that, contrary to received opinion, Shakespeare was not the first comic dramatist to create self-conscious characters who seem 'lifelike' or 'realistic'. His comic practice is firmly set within a comic tradition which stretches from Plautus and Menander to playwrights of the Italian Renaissance. |
Contents
| 1 | |
Measure for Measure II ii 16287 | 11 |
Comic plot conventions in Measure for Measure | 20 |
Menander and New Comedy | 30 |
Plautus and Terence | 40 |
The enchantments of Circe | 57 |
As You Like It and Twelfth Night | 94 |
Mistaking in Much | 109 |
Shakespeares rhetoric of consciousness | 121 |
Notes | 129 |
| 149 | |
| 151 | |
| 152 | |
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Common terms and phrases
action Angelo Antipholus argues asks audience becomes behavior believes brother calls character characterization claim classical Claudio comedy comic common complex conventions creating critics death debate describes desire dialogue discovers discovery discussion disguise dramatic dream Drusilla Duke earlier early edition Elizabethan emphasize English Errors example experience father feelings figure final follows forms function Hero imagined important individual inner interesting Isabella Italian Italy language later leads lifelike lines linguistic London look lovers Lucrezio marriage means Measure for Measure Menander mind mistaken identity nature never Night noted person Plautus play plot points preceding present problem Pseudolus psychological questions readers recognized references relation Renaissance represent response rhetoric rhetoric of consciousness role romance Rosalind scene sense Shakespeare simply soliloquy speaks speech structure suggests takes Terence theme thou tradition tragedy Twelfth types understand wonder