John Weld - Meaning in comedy: studies in Elizabethan romantic comedy
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Meaning in Comedy : Studies in Elizabethan Romantic Comedy
author
:
Weld, John.
publisher
:
State University of New York Press
isbn10 | asin
:
0873952782
print isbn13
:
9780873952781
ebook isbn13
:
9780585088877
language
:
English
subject
English drama (Comedy)--History and criticism, English drama--Early modern and Elizabethan, 1500-1600--History and criticism, English drama--To 1500--History and criticism.
publication date
:
1975
lcc
:
PR646.W4 1975eb
ddc
:
822/.052
subject
:
English drama (Comedy)--History and criticism, English drama--Early modern and Elizabethan, 1500-1600--History and criticism, English drama--To 1500--History and criticism.
Page iii
Meaning in Comedy
Studies in Elizabethan Romantic Comedy
by John Weld.
State University of New York Press, Albany, New York, 1975.
Page iv
Published with assistance from The University Awards Committee of State University of New York
First published in 1975 by State University of New York Press 99 Washington Avenue, Albany, New York 12210
1975 State University of New York All rights reserved
Printed in the United States of America
Library of Congress Cataloging in Publication Data
Weld, John, 1914 Meaning in comedy.
Includes bibliographical references and index. 1. English drama (Comedy)History and criticism. 2. English dramaEarly modern and Elizabethan, 15001600History and criticism. 3. English drama MedievalTo 1500History and criticism. I. Title.
PR646.W4 822.052 74-30168
ISBN 0-87395-278-2 ISBN 0-87395-279-0 microfiche
Page v
In Memoriam, Alan Downer.
Page vii
CONTENTS.
Acknowledgements.
ix
Introduction.
1
Part One: Dramatic Tradition.
I. Dramatic Exemplification and Metaphor.
21
II. Dramatic Metaphor in Moralities and Other Entertainment.
56
III. Semantic Complexity: Macrocosm and Microcosm.
76
Part Two: The Plays.
IV. Romantic Comedy: John Lyly.
101
V. Friar Bacon and Friar Bungay.
136
VI. The Comedy of Errors.
154
VII. The Taming of the Shrew.
169
VIII. A Midsummer Night's Dream.
191
IX. The Merchant of Venice.
207
Notes.
238
Index.
249
Page ix
ACKNOWLEDGEMENTS.
I wish to thank the Research Foundation of the State University of New York for its generous award of two summer research grants toward the completion of these studies. I also wish to thank Miss Janet Brown, Miss Caroline Jakeman, and the staffs of the libraries of The State University of New York at Binghamton, Harvard College, and Cornell University. They have served the needs of the scholar with efficiency, courtesy, and learning.
This book owes much to many people. I hope that most of my specific debts are acknowledged in the footnotes. Others, more general, are too numerous to list, but a few must be mentioned here. Of these, not the least is my debt to my students, who for many years have provided challenge and stimulation and often guided me toward wisdom. I have had the great joy of collaborative teaching with my colleagues Peter Gruber, Seymour Pitcher, Elias Schwartz, and Melvin Seiden; in classroom and corridor they have often corrected my follies, and they have always broadened my understanding of the drama. Saul Levin has tact-
Page x
fully guided my faltering Latinity. My wife has read much of the manuscript several times; she has battled with me on many points, stylistic and substantial. She has sometimes won; for her victories readers can be grateful. Any work of this nature must acknowledge its great indebtedness to the monumental historical foundations of Chambers and Bentley, without which all speculation would be folly. In addition, I must record my debt to Arthur Colby Sprague, who first wakened me to the importance to the text as staged, and to Alan Downer for many years my friend, fellow actor, director, critic, and best of companions.
My greatest debt is to Bernard Hupp. My approach to late medieval and early Elizabethan drama was largely inspired by his lectures on Chaucer and Old English and by the approach to Middle English literature which he and D. W. Robertson pioneered. The book was written under his kindly lash; his influence upon it has been deep and pervasive.
Page 1
INTRODUCTION.
The main purpose of this book is to interpret a number of Elizabethan romantic comedies and related plays. "Romantic comedy" is a loose term of late invention and dubious respectability, but it has some value in grouping certain Elizabethan plays. Taken to include, say,
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