.... RAIMONDAMODIANO University of Washington Collected Letters of Sumriel Taylor Coleridge, ed. Earl Leslie Griggs, 111 (Oxford, 1059), 310. Tennyson’s Major Poems: The Comic and Ironic Patterns. By JAMESK. KIN- CAID. New Haven and London: Yale University Press, 1975. xi + 254 pp...

... portrait for the dust jacket and frontispiece, would no doubt have pleased his subject. JOHN R. CARY Haverford College The Dark Comedy: The Development of Modern Comic Tragedy. By J. L. STYAN. New York: Cambridge University Press, 1962...

.... To the extent that she forces us to cross these disciplinary boundaries, we are in her debt. F. J. LEVY University of Washington The Comedies of Corneille: Experiments in the Comic. By G. J. MALLINSON. Manchester, Eng., and Dover, N. H...

...A. E. Dyson Copyright © 1957 by Duke University Press 1957 SATIRIC AND COMIC THEORY IN RELATION TO FIELDING By A. E. DYSOK The doctrine of “ridicule as a test of truth” is a distinctively eight- eenth-century one...

...) ? FRANKW. JONES University of Washington Jonson and the Comic Truth. By JOHN J. ENCK.Madison: University of Wisconsin Press, 1957. Pp. viii + 281. $5.00. John Enck believes that Jonson’s greatness consists, first, in the clear-sighted recognition of what he and comedy could reach...

...Robert R. Heitner Copyright © 1957 by Duke University Press 1957 LESSING’S MANIPULATION OF A SINGLE COMIC THEME By ROBERTR. HEITNER The establishment of a national theater supplied with an adequate repertory of original dramas...

...Gerald Herman Copyright © 1969 by Duke University Press 1969 UNCONVENTIONAL ARMS AS A COMIC DEVICE IN SOME CHANSONS DE GESTE By GERALDHERMAN War is the dominant theme of the medieval French chanson de geste...

...Charles Altieri Copyright © 1972 by Duke University Press 1972 FROM A COMIC TO A TRAGIC SENSE OF LANGUAGE IN YEATS'S MATURE POETRY By CHARLESALTIERI Although critics of Yeats have shown corisiderable interest in his...

...B. F. Bart Copyright © 1950 by Duke University Press 1950 ASPECTS OF THE COMIC IN PULCI AND RABELAIS By B. F. BART The relations between Pulci and Rabelais, between Morgante and Pantagruel, have proved a challenging problem in the evaluation...

... for Atlantic Monthly in 1875, he also finished elaborating his fundamental comic device, Mark Twain. His development of Mark Twain as a comic character resembles Cooper’s development of Natty Bumppo- the “lives” of both figures are told by starting...

...Alexander Pettit Abstract During an eleven-year period that began in 1913 with the composition of his first play, Eugene O’Neill repeatedly experimented with New Comic forms. His seven “metacomedies” from this period—most focally Bread and Butter , “Anna Christie,” and Desire under the Elms —render...

... the job of a character is to individuate. The comic rather than tragic historiography of the formalist account makes it slightly preferable to the antiformalist one. The essay's archive is intended to be comprehensive and includes representative examples from poems, novels, plays, comic books, and works...

... of a comic ending. But beyond the different levels of optimism implied by those endings, Owenson and Staël deliver a similar message to the Romantic intellectual, a message that most Romantics ignored in their persistent cultivation of Hamletic attitudes. Raphaël Ingelbien is senior lecturer...

... for women as subjects. Shakespeare adapts the lost-child device from Roman new comedy to make female loss central to his tragicomic plots—much as it is to Woolf’s tragic narrative of Judith. New-comic plotting offers a provisional, conservative solution to the historical problem of the heiress...

.... The “double blessing” that Polonius gives Laertes shows this ritual comically, as do those of earlier sons Launce and Launcelot in The Two Gentlemen of Verona and The Merchant of Venice ; All’s Well That Ends Well renders it confusingly in feudal transition into a new age. King Lear offers it in the peaceful...

... the former and domesticate the latter. Terrible events are described comically, and everyday matters are treated as portents. The echoes of Ulysses in magic realism amplify its irony and dispel the primitivist tendency to interpret the fantasy in later texts as evidence of indigenous belief in supernatural...

... reader to return to the comic texts and unsilence them, to begin to listen to the rage and memory of the preconquered. Jacques Derrida asked if there was “a history of silence,” and exhuming curses and buried rage might begin to unsettle a history of laughter and violent displacement. © 2009...

... the comedy began a period of some popularity, and is perhaps attributable to the “solemn declamatory Way” of the actor Quin who played Maskwell.‘ This is not to deny that Maskwell and Lady Touchwood are villain- ous, but to insist that they are also comical characters. Two twentieth- century...

..., particularly for the effective construction of its comic plot (which Massinger made use of in A New Way to Pay Old Debts), a plot built upon the ingenious “trick”-the passing off of his mistress as a rich widow betrothed to him-that Witgood, the young prodigal, plays on his uncle, Pecunius Lucre...

... blended in Chekhovian drama, espe- cially in The Cherry Orchard, also compose the mood of Twelfth Night. Shakespeare’s romantic comedy and Chekhov’s tragicomedy gener- ate richly complex moods that do not yield themselves readily to traditional Aristotelian analysis. The comic and the tragic...