By Elliot Krieger
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This contemporary Library version offers all fourteen comedies--each whole and unabridged--in the Shakespearean canon, in addition to notes and word list.
The gents of Verona
The Merry other halves of Windsor
Measure for degree
The Comedy of blunders
Much Ado approximately not anything
Love's Labour's misplaced
A Midsummer-Night's Dream
The service provider of Venice
As you're keen on It
The Taming of the Shrew
All's good That Ends good
The Winter's story
The unique CliffsNotes examine courses provide professional observation on significant subject matters, plots, characters, literary units, and ancient historical past. the most recent new release of titles during this sequence additionally function glossaries and visible components that supplement the vintage, regular structure. In CliffsNotes at the Taming of the Shrew, you discover considered one of Shakespeare's such a lot cherished, and imitated, works.
- The Restless Supermarket
- The Oxford Handbook of Greek and Roman Comedy
- Tuff: A Novel
- Doctor at Sea (Doctor Series, Book 2)
- Monty Python's Flying Circus
Additional resources for A Marxist Study of Shakespeare’s Comedies
It follows that Hermia first notes Lysander's desertion as a verbal absence: What, out of hearing gone? No sound, no word? Alack, where are you? Speak, and if you hear ... (II. ii. I 52~ 3) and that she finds him again by pursuing his language: Thou are not by mine eye, Lysander, found; Mine ear, I thank it, brought me to thy sound. (III. ii. I8I~2) Helena interprets the adoration suddenly offered her as nothing but words, and therefore as nothing: These vows are Hermia's. Will you give her o'er?
The ironic reading criticizes the aristocratic protagonists for not living up to their ideals, but it does not criticize the aristocratic ideals as such, for it fails to see that the ideals emerge from and express the needs of a particular social class. Irony is, therefore, itself a second-world strategy, in that it attempts to fix a dialectical process in one objective moment in time and in one arrangement in space: irony tends, very much like the aristocratic language in The Merchant of Venice and elsewhere in Shakespeare's works, to arrest time through rhetorical contemplation of an object, emotion, or condition.
Shakespeare designs the return to Venice-the trial, which interrupts the marriage rites of Bassanio and Portia, Gratiano and Nerissa-to emphasize the continuity between rather than the disjunction of the dramatic worlds: whereas when Bassanio journeys from Belmont back to Venice he returns to the material world of time and money, when Portia makes the same journey she does so as a retreat to a second world. Portia begins her "retreat" to Venice by developing a paranoid fantasy; she performs a verbal act of dream-like economic compression in order to incorporate Shylock's attack on Antonio into her own soul.