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The fusion of the comic and the tragic in the
Shakespearean oeuvre seems a commonplace, however,
in-depth studies devoted to this field have been
quite rare. The present work chose laughter as an
umbrella term and is mainly based on critical
practice. The different manifestations of laughter
and the (open or latent) comic on stage/page are
examined in detail, with theoretical considerations.
The introduction of the problems arising in laughter
theories is followed by the investigation of the
grotesque correlation of violence and laughter in
Titus Andronicus and The Comedy of Errors. The
demonic side of laughter and Shakespeare s great
villains are explored in the following, then
different aspects of the carnival provide the
groundwork for interpretation: of Falstaff s
carnivalesque laughter, the ambiguity of
(carnivalesque) masquerading (Edgar), and finally,
the carnivalesque anti-carnival of King Lear is
treated at great length. Informed but relatively
free of technical jargon, the book should help not
only the literary or Shakespeare scholar but might
prove useful and enjoyable to anyone else interested
in Shakespearean drama.
Shakespearean oeuvre seems a commonplace, however,
in-depth studies devoted to this field have been
quite rare. The present work chose laughter as an
umbrella term and is mainly based on critical
practice. The different manifestations of laughter
and the (open or latent) comic on stage/page are
examined in detail, with theoretical considerations.
The introduction of the problems arising in laughter
theories is followed by the investigation of the
grotesque correlation of violence and laughter in
Titus Andronicus and The Comedy of Errors. The
demonic side of laughter and Shakespeare s great
villains are explored in the following, then
different aspects of the carnival provide the
groundwork for interpretation: of Falstaff s
carnivalesque laughter, the ambiguity of
(carnivalesque) masquerading (Edgar), and finally,
the carnivalesque anti-carnival of King Lear is
treated at great length. Informed but relatively
free of technical jargon, the book should help not
only the literary or Shakespeare scholar but might
prove useful and enjoyable to anyone else interested
in Shakespearean drama.