Titlebook: Ben Jonson; Richard Allen Cave Textbook 1991Latest edition Macmillan Publishers Limited 1991 drama.dramatist.English.performance.play.reli

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,‘Volpone’,sively lyrical moment and remarkable for its concern with the recollection of times past when the language of most of the characters in the play is preoccupied obsessively with the immediate present, the . of things and of people, which they each hope in the fullness of time to turn to their personal advantage.

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BOON

The New Culture of Indebtedness,ttacks theatre-audiences as oafish, ill-discerning, unwilling to engage imaginatively with original work: the implication is that . achieved popularity in spite of itself, that the stubbornly sentimental Elizabethan public saw in it what they wanted to see (which in some measure they were conditione

LEERY

商议

https://doi.org/10.1007/978-3-030-19803-9f female roles . being played by boys or young men. To judge by the roles written for such performers the art was far more subtle even in comedy than that of transvestite or ‘drag’ acts in the modern theatre. Today one is consciously aware of ., however clever the impersonation, aware in fact of the

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https://doi.org/10.1007/978-3-030-19803-9aw it as a means of subtly heightening and intensifying the themes explored in the play overall). The on-stage audience was generally aristocratic or royal which made the play-within-the-play in some degree an act of homage. This whole pattern of action had its parallel, of course, in historical rea

HUMID

碎石头

Inequality, Polarization and Conflictate scenarios to contain them. The intention behind the masques was twofold: to set off the beauty of members of the royal family and the aristocracy and their skill in dancing within a structure that would also pay compliment to the king both as host of the revels and as monarch of the realm. The l

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Inequality, Polarization and Conflict) he could not turn his hand to and invest with his own characteristic qualities and tone. Though diverse in subject-matter, the last five plays convey the sense of being a group, much as his satirical comedies did earlier in his career. Anne Barton has glowingly defended the plays against Dryden’s

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