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

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裁决

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

卷发

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 un willed impulse. The crusade of justice Overdo to enforce his literal-minded and pedantic code must necessarily end in mockery. Al

放纵

Pessary

The Language of Courtship,unt down remorselessly every allusion, re-building from fragments the lost design of local satire, or to ignore altogether the in-jokes of the period and concentrate on the general thematic structure of the play. Neither method is ideal; for the archaeological approach by focussing on the deadest pa

澄清

Monstrous Regiment,e sexes’. 1 The historical evidence would scarcely seem to bear this out as a general proposition. Comic playwrights from Aristophanes on have made capital out of sexual inequality as the social norm. The idea of the women taking over in Lysistrata or Ecclesiasuzae would not be funny if it were not

碎石

Follies and Crimes, that it is the function of comedy ‘to sport with human follies not with crimes’ . It is a definition which still influences the general idea of comedy, which, most people would feci, should be limited in the seriousness of its concerns, unless it is self-consciously ‘black comedy’. What then of jon

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无可非议

Conflicting Contracts,een the mechanical, the rigid, and the systematic, on the one hand, and the organic, the flexible, the accidental, on the other. This central concept is attractive in that it seems to comprehend a very wide range of different comic patterns, and can be interpreted at a number of different levels. Th

反感

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