The role of comedy in William Shakespeare's 'Henry IV'

Fiction & Literature, Literary Theory & Criticism, British
Cover of the book The role of comedy in William Shakespeare's 'Henry IV' by Michael Miller, GRIN Verlag
View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart
Author: Michael Miller ISBN: 9783638043298
Publisher: GRIN Verlag Publication: May 9, 2008
Imprint: GRIN Verlag Language: English
Author: Michael Miller
ISBN: 9783638043298
Publisher: GRIN Verlag
Publication: May 9, 2008
Imprint: GRIN Verlag
Language: English

Essay from the year 2007 in the subject English Language and Literature Studies - Literature, grade: A-/B+, Brown University, course: Introduction to Shakespeare, 0 entries in the bibliography, language: English, abstract: Set in bars, castles, and battlefields, Shakespeare's Henry IV is presents a peculiar version of chivalry. Upon first inspection, this play reads as a boy's tale of mischief, kingly growth, and knightly success. Shakespeare, however, proves too elusive a dramatist to offer so simple a play. Although a history, Shakespeare also has saturated the work with qualities of another genre: the Comedy. In this play, readers see the comedic in both plot and character. In regard to plot, Shakespeare employs a block comedic in both senses of the word on a very strange case of unrequited love: King Henry's affection for Hotspur. Fittingly, Shakespeare also removes that block-which makes the play comedic, not tragic-in an equally unconventional way. In Hal's slaying of Hotspur, Hal replaces King Henry's desire as Hal emerges as a deserving successor. Numerous comedic foils and aids interact with this block; however, one character in particular, Falstaff, is bound exceptionally tightly to this play's comedic tone. The unofficial jester of King Henry's court, Falstaff serves as this play's emblem of comedy. Falstaff not only offers a comedic disposition but also drives the play's larger comedic plot by aiding in Hal's development as a successor. Henry IV, although a history, is irrevocably tied to the comedic both in jest and in structure.

View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart

Essay from the year 2007 in the subject English Language and Literature Studies - Literature, grade: A-/B+, Brown University, course: Introduction to Shakespeare, 0 entries in the bibliography, language: English, abstract: Set in bars, castles, and battlefields, Shakespeare's Henry IV is presents a peculiar version of chivalry. Upon first inspection, this play reads as a boy's tale of mischief, kingly growth, and knightly success. Shakespeare, however, proves too elusive a dramatist to offer so simple a play. Although a history, Shakespeare also has saturated the work with qualities of another genre: the Comedy. In this play, readers see the comedic in both plot and character. In regard to plot, Shakespeare employs a block comedic in both senses of the word on a very strange case of unrequited love: King Henry's affection for Hotspur. Fittingly, Shakespeare also removes that block-which makes the play comedic, not tragic-in an equally unconventional way. In Hal's slaying of Hotspur, Hal replaces King Henry's desire as Hal emerges as a deserving successor. Numerous comedic foils and aids interact with this block; however, one character in particular, Falstaff, is bound exceptionally tightly to this play's comedic tone. The unofficial jester of King Henry's court, Falstaff serves as this play's emblem of comedy. Falstaff not only offers a comedic disposition but also drives the play's larger comedic plot by aiding in Hal's development as a successor. Henry IV, although a history, is irrevocably tied to the comedic both in jest and in structure.

More books from GRIN Verlag

Cover of the book Die wirtschaftliche Entwicklung Chinas by Michael Miller
Cover of the book Öffentlichkeitsarbeit im Internet by Michael Miller
Cover of the book Zeit des Wandels - Die Sozialpolitik der Großen Koalition 1966-69 by Michael Miller
Cover of the book The Economics of European Integration - The Perspective of Italy by Michael Miller
Cover of the book Erwerbsformen, Lebensverhältnisse und der Geschlechtervertrag by Michael Miller
Cover of the book Kooperatives Lernen by Michael Miller
Cover of the book Führungsstile im Vergleich. Auswirkungen der drei klassischen Führungsstile sowie der transaktionalen und transformationalen Führung by Michael Miller
Cover of the book Das Scheitern der WTO Millenniums-Runde by Michael Miller
Cover of the book Sexueller Missbrauch. Kinder als Täter by Michael Miller
Cover of the book Ist der Mensch radikal böse? Eine Betrachtung von Kants Position by Michael Miller
Cover of the book Der Einfluss familienpolitischer Maßnahmen in der Bundesrepublik Deutschland auf die Geschlechterrollen und das Erwerbsleben by Michael Miller
Cover of the book Wilsons 14-Punkte-Plan by Michael Miller
Cover of the book Psychometrische Testverfahren by Michael Miller
Cover of the book Lernen an fremden Biographien. Franz von Assisi im Religionsunterricht der Grundschule by Michael Miller
Cover of the book Zusammenfassung des Buches von Aristoteles 'Die Nikomachische Ethik': Erstes bis fünftes Buch by Michael Miller
We use our own "cookies" and third party cookies to improve services and to see statistical information. By using this website, you agree to our Privacy Policy