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Love and dramatic genre - Approaches to the topic of love in three Shakespearean plays (Paperback)
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Love and dramatic genre - Approaches to the topic of love in three Shakespearean plays (Paperback)
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Examination Thesis from the year 2003 in the subject English
Language and Literature Studies - Literature, grade: 1,3, Bielefeld
University, 71 entries in the bibliography, language: English,
abstract: "Love" is a central topic in Shakespeare s plays. Many of
his couples have gained a status of immortality: Antony and
Cleopatra, Romeo and Juliet, or Beatrice and Benedick are only a
few examples. These lovers share one experience, which Lysander in
"A Midsummer Night s Dream" sums up very clearly: "The course of
true love never did run smooth ..." (1,1,134) This dilemma is the
"raw material" I am interested in. I will take three Shakespearean
plays with "love" as their central issue and examine the
protagonists courses of love in them. This involves the beginning,
the obstacles in the way, the reactions to these obstacles and the
final failure or success to overcome them. The plays chosen are
"Romeo and Juliet," "All s Well that Ends Well," and "The Taming of
the Shrew." In the First Folio edition the first one is classified
as belonging to the literary form of "tragedy," the latter two as
"comedies." This leads me to the second element in the title, which
is "dramatic genre." What Northrop Frye says about comedy is also
valid for tragedy: "If a play in a theatre is subtitled a comedy,
information is conveyed to a potential audience about what kind of
thing to expect, and this type of information has been intelligible
since before the days of Aristophanes." One such expectation
concerns a play s mood. Here lies a fundamental difference between
tragedy and comedy. Generally speaking, the audience expects that a
comedy creates a happy mood and a tragedy a sad one. However, I am
not alone finding that "Romeo" is a rather happy play over long
stretches, whereas "The Taming" and "All s Well" are anything but
thoroughly happy pieces. In these three dramas Shakespeare only
partly fulfils the expectations, which are evoked. Their generic
structure does not generate
General
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