内容

目次

I: Criticism; Excerpt from His Edition of The Plays of William Shakespeare (1765); Excerpt from Characters of Shakespear's Plays (1817); Excerpt from A Study of Shakespeare (1880); “The Female Page” from Disguise Plots in Elizabethan Drama (1915); The Ending of The Two Gentlemen of Verona (1933); Sir Thomas Elyot and the Integrity of The Two Gentlemen of Verona (1950); Proteus, Wry-Transformed Traveller (1954); Excerpt from Shakespeare's Comedies (1960); Two Clowns in a Comedy (to say nothing of the Dog): Speed, Launce (and Crab) in The Two Gentlemen of Verona (1963); Laughing with the Audience: The Two Gentlemen of Verona and the Popular Tradition of Comedy (1969); “Were man but constant, he were perfect”: Constancy and Consistency in The Two Gentlemen of Verona (1972); The Two Gentlemen of Verona and the Courtesy Book Tradition (1983); Love Letters in The Two Gentlemen of Verona (1986); “Metamorphising” Proteus: Reversal Strategies in The Two Gentlemen of Verona (1996); Shakespeare's Actors as Collaborators: Will Kempe and The Two Gentlemen of Verona (1996); “I am but a foole, looke you”: Launce and the Social Functions of Humor (1996); “To be slow in words is a woman's only virtue”: Silence and Satire in The Two Gentlemen of Verona (1994); Feminine “Depth” on the Nineteenth-Century Stage (1996); II: Theatre Reviews; European Magazine: 1821, Covent Garden, London; 1895, Daly's Theatre, London; 1904, Court Theatre, London; 1910, His Majesty's Theatre, London; 1956, The Old Vic, London; 1970, Royal Shakespeare Company, Stratford-upon-Avon; 1975, Stratford, Ontario; 1983, BBC TV/Time Life Productions; 1984, The Young Company, Stratford, Ontario; 1990, The Acting Company; 1991, Royal Shakespeare Company, Stratford-upon-Avon