拿着锡 发表于 2025-3-21 19:17:03
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https://doi.org/10.1057/9780230337725clown; identity; stage; William Shakespeare; British and Irish LiteratureLiberate 发表于 2025-3-22 07:10:28
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No Epilogue, I Pray You, than the observance. In defiance of decorum and without rhyme or reason, the unruly likes of Puck, Feste, and Falstaff return to make the denouement all the more discombobulating. Shakespeare’s epilogues tend to overflow the boundaries rather than draw the line, a phenomenon compounded when the epilogue is delegated to the fool.muffler 发表于 2025-3-22 13:10:30
ose reading of plays over the whole course of Shakespeare‘s theatrical career, Bell highlights the fun, wit, insights, and mysteries of some of Shakespeare‘s most vibrant and often vexing figures.978-1-137-34675-9978-0-230-33772-5Spina-Bifida 发表于 2025-3-22 17:16:49
In Quest of Folly,y, the conception of folly as what fools say and do gives the more abstract notion of folly a local habitation and a name. Very often . comes attached to another epithet: “moral fool,” “vain fool” (. 4.2.58, 4.2.62), “a bitter fool and a sweet one” (. 1.4.138), godless fool, wise fool, holy fool, Chincredulity 发表于 2025-3-22 23:29:23
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Fools for Love: Fooling and Feeling,e attention of the spectators” (Erasmus 43). Chaloner’s 1549 rendition, “the feignyng and counterfaityng is it, that so delighteth the beholders,”. provides two terms that figure egregiously in Shakespeare’s anatomy of folly: feigning and counterfeiting.语源学 发表于 2025-3-23 05:43:04
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