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Jonson, Shakespeare, and Aristotle on comedy.

Author: Jonathan Goossen
Publisher: Andover : Routledge Ltd. 2017.
Series: Routledge studies in Shakespeare.
Edition/Format:   Print book : EnglishView all editions and formats
Summary:
Jonson, Shakespeare, and Aristotle on Comedy relates new understandings of Aristotle's dramatic theory to the comedy of Ben Jonson and William Shakespeare. Typically, scholars of Renaissance drama have treated Aristotle's theory only as a possible historical influence on Jonson's and Shakespeare's drama, focusing primarily on their tragedies. Yet recent classical scholarship has undone important misconceptions about  Read more...
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Genre/Form: Criticism, interpretation, etc
Named Person: Ben Jonson; William Shakespeare; Aristotle.; Ben Jonson; William Shakespeare; William Shakespeare; Ben Jonson; Aristoteles
Document Type: Book
All Authors / Contributors: Jonathan Goossen
ISBN: 9781138710184 1138710180
OCLC Number: 1029664498
Description: 200 p.
Contents: The Poetics and comedy --
Comic error and the Hoax --
"Laid flat" in the "flame and height of their humours": exposure in Jonson --
Shakespeare's exposure of "seeming" --
Indignation --
Jonson's shifting "furor poeticus" --
"Kill Claudio": indignation and pity in Shakespeare --
Catharsis --
"Checked by strength and clearness": Jonson's comic catharsis --
The "strange course" of Shakespeare's comic catharsis conclusion: the "Comedy of Affliction."
Series Title: Routledge studies in Shakespeare.
Responsibility: Jonathan Goossen.

Abstract:

Jonson, Shakespeare, and Aristotle on Comedy relates new understandings of Aristotle's dramatic theory to the comedy of Ben Jonson and William Shakespeare. Typically, scholars of Renaissance drama have treated Aristotle's theory only as a possible historical influence on Jonson's and Shakespeare's drama, focusing primarily on their tragedies. Yet recent classical scholarship has undone important misconceptions about Aristotle's Poetics held by early modern commentators and fleshed out the theory of comedy latent within it. By first synthesizing these developments and then treating them as an interpretive theory, rather than simply an historical influence, this book demonstrates a remarkable consonance between Aristotelian principles of plot and its emotional effect, on the one hand, and the comedy of Shakespeare and Jonson, on the other. In doing so, it also reveals surprising similarities between these seemingly divergent dramatists.

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