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Jacobean City Comedy
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Shakespeare and Multiplicity
Brian Gibbons presents the idea of multiplicity as a way of understanding the form and style of Shakespeare's plays: composed of many different codes, woven together in a unique pattern for each play, rather than variations on fixed notions of comedy or tragedy. Selecting from different phases of Shakespeare's career, the book's method is comparison, using an imaginative range of texts and new approaches; there is also lively discussion of modern staging. Comparison with major works by Spenser, Sidney and Marlowe is complemented by a demonstration of Shakespeare's re-use of his own previous plays and poems. Far from reducing the plays to a formula, Brian Gibbons shows how criticism articulates what popular audiences have always known, that the plays' sheer abundance and variety is their strength. This 1993 book is scholarly, yet straightforward, on an issue of central interest.
The Way of the World
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Spirituality and the Occult
Spirituality and the Occult argues against the widely held view that occult spiritualities are marginal to Western culture. Showing that the esoteric tradition is unfairly neglected in Western culture and that much of what we take to be 'modern' derives at least in part from this tradition, it casts a fresh, intriguing and persuasive perspective on intellectual and cultural history in the West. Brian Gibbons identifies the influence and continued presence of esoteric mystical movements in disciplines such as: * medicine * science * philosophy * Freudian and Jungian psychology * radical political movements * imaginative literature.
The Way of the World
William Congreve was an English playwright and poet in the late 17th century. Congreve's most famous play was The Way of the World.
The Tragedy of King Lear
Offers a completely new introduction, with a particular emphasis on the play's afterlife in global performance and adaptation.
The Way of the World
If seventeenth- and eighteenth-century comedy differ in that the former is about sex (and adultery actually happens) while the latter is about love (and adultery is merely threatened), then Congreve - writing at the turn of the century - occupies a phase of transition. Mirabell is no saint, but he deserves the title of 'hero' for masterminding the action with the same wit and humanity with which the dramatist designed the play. Mirabell is both financially and amorously interested in the skittish Millamant, who declares that she might, with certain provisos, 'dwindle into a wife'. The introduction to this edition clarifies the playwright's and his characters' highly intricate plotting and argues that the key metaphor of the play is card-playing, in which fortune, cunning, concealment and a high trump drawn from the sleeve at the right moment will win the game - and the heiress.
