The Manifestation of Desire

Kent Cartwright
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Abstract

Chapter 4 conceptualizes the device of ‘manifestation,’ the term identifying the causal power of desires, thoughts, and words to call forth objects and even characters in Shakespeare’s comic world. In the spirit of critic Elena Zupančič, the device shows, among other things, the way that comedy can surface the amusing monstrousness and presumptuousness of human wishes. The concept of manifestation entails various literary and dramatic values that characterize Shakespearean comedy. Historically, it reflects interests and theories found in Renaissance treatises on magic, and it even parallels certain modern-day linguistic patters. The chapter formalizes and theorizes the device, drawing examples from a range of comedies. The Comedy of Errors (Dr. Pinch), A Midsummer Night’s Dream (Helana and the love potion), and The Merry Wives of Windsor (the Witch of Brainford) come in for special discussion. The chapter ends by situation manifestation in relation to entrance effects in medieval and Tudor drama and to allegorical effects in Spenser’s The Faerie Queene.
欲望的表现
第四章对“显化”的手法进行了概念化,“显化”指的是在莎士比亚的喜剧世界中,欲望、思想和文字唤起物体甚至人物的因果力量。本着评论家埃琳娜·祖帕安·伊茨的精神,这个装置展示了喜剧如何将人类愿望的有趣的怪诞和傲慢表现出来。表现的概念包含了各种文学和戏剧价值,这是莎士比亚喜剧的特征。从历史上看,它反映了文艺复兴时期关于魔法的论文中的兴趣和理论,甚至与某些现代语言模式相似。本章从一系列喜剧中举出例子,将这种手法形式化并理论化。《错误的喜剧》(平奇博士)、《仲夏夜之梦》(赫拉娜和爱情魔药)和《温莎的风流妻子》(布雷福德的女巫)将被特别讨论。本章以中世纪和都铎时期戏剧的入口效果和斯宾塞《仙后》的寓言效果的情境表现作为结语。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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