Shakespeare, Jonson, Molière: The Comic Contract PDF
Preview Shakespeare, Jonson, Molière: The Comic Contract
SHAKESPEARE, JONSON, MOLIERE THE COMIC CONTRACT By the same author SYNGE: A Critical Study of the Plays BERNARD SHAW: A Critical View Shakespeare, Jonson, Moliere The Comic Contract Nicholas Grene M MACMILLAN © Nicholas Grene 1980 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No paragraph of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright Act 1956 (as amended). Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages. First published 1980 Reprinted (with alterations) 1985 Published by THE MACMILLAN PRESS LTD Houndmills, Basingstoke, Hampshire RG21 2XS and London Companies and representatives throughout the world British Library Cataloguing in Publication Data Grene Nicholas Shakespeare, Jonson, Moliere 1. Jonson, Ben-Criticism and interpretation 2. Shakespeare, William-Comedies 3. Moliere-Criticism and interpretation 822' .3'09 PR2638 ISBN 978-0-333-39533-2 ISBN 978-1-349-08112-7 (eBook) DOl 10.1007/978-1-349-08112-7 To the memory of Daniel Contents Acknowledgements IX Note on Texts and Translations Xl Introduction Xlll The Comic Contract 2 The Triumph of Nature 19 3 Comic Controllers 43 4 Quacks and Con men 69 5 The Language of Courtship 93 6 Monstrous Regiment 112 7 Follies and Crimes 135 8 Two Plays in Search of an Audience 163 9 Conflicting Contracts 185 Conclusion 210 Translations 216 Notes 224 Bibliography 235 Index 243 VII Acknowledgements I would like to acknowledge gratefully a term's study leave from the University of Liverpool which made it possible for me to complete research for this book in Paris. I want to thank my colleagues Philip Edwards and Sarah Kay, my mother Marjorie Grene and my wife Eleanor Grene, all of whom read my manuscript at various stages in its preparation and made very helpful comments and criticisms. I am also grateful to Joan Welford, Catherine Rees, and Annette Butler for their excellent team-typing. Some of the material in the first chapter of this book has already appeared in Themes in Drama and is included by permission of Cambridge University Press. N.G. IX
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