261.
new day new play! i'm excited about reading this one because i have had ZERO exposure to it before today. something fresh! wahoo! and it's the last one i get to read at a slow pace before crazy Summer of Shakespeare begins. ah!
here's what i learned about this one today:
-David Bevington calls this play the first of Shakespeare's 'romantic comedies'. Comedy of Errors is considered to be a farce of mistaken identity, and Love's Labor's Lost is more of a courtly comedy.
-this play also goes in the category of 'festive' comedies that include Twelfth Night and A Midsummer Night's Dream.
-this play is set in Italy, which is fitting because Shakespeare starts modeling some of his work based on writers from Italy and other Southern European countries.
-some devices and conventions to look out for: disguises, overhearing conversations, absurd situations and characters, plotting, paradox, and anticlimaxes.
-'the play continually reminds us of the folly of love without denying its exquisite joys or its highest potential for selflessness.' -Bevington, page 77
for tomorrow: act 1, scene 1!
-rebecca may
new day new play! i'm excited about reading this one because i have had ZERO exposure to it before today. something fresh! wahoo! and it's the last one i get to read at a slow pace before crazy Summer of Shakespeare begins. ah!
here's what i learned about this one today:
-David Bevington calls this play the first of Shakespeare's 'romantic comedies'. Comedy of Errors is considered to be a farce of mistaken identity, and Love's Labor's Lost is more of a courtly comedy.
-this play also goes in the category of 'festive' comedies that include Twelfth Night and A Midsummer Night's Dream.
-this play is set in Italy, which is fitting because Shakespeare starts modeling some of his work based on writers from Italy and other Southern European countries.
-some devices and conventions to look out for: disguises, overhearing conversations, absurd situations and characters, plotting, paradox, and anticlimaxes.
-'the play continually reminds us of the folly of love without denying its exquisite joys or its highest potential for selflessness.' -Bevington, page 77
for tomorrow: act 1, scene 1!
-rebecca may
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