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"A Pastoral Comedy" by Allan Ramsay is a delightful theatrical work that transports audiences to the idyllic countryside of rural Scotland. Set against the backdrop of lush green fields, rolling hills, and quaint country villages, Ramsay's comedy follows the lives of shepherds, farmers, and villagers as they navigate the joys and tribulations of rural life. With its charming characters, bucolic settings, and whimsical plotlines, "A Pastoral Comedy" offers audiences a refreshing escape from the complexities of urban living. Through its lively dialogue, rustic humor, and rustic charm, the play celebrates the simple pleasures of nature, community, and love. As the characters sing, dance, and frolic in the countryside, they remind us of the timeless beauty and tranquility of rural life. Ramsay's masterful storytelling and keen observations of human nature ensure that "A Pastoral Comedy" is a delightful and entertaining experience for audiences of all ages.
Reprint of the original, first published in 1875.
McFarland presents a personal theory of comedy that shows a knowledge of comic theory and practice, the origin and nature of the comic vision, the pastoral elegy, and the golden age. He deftly draws together the various elements and shows how the blending of the pastoral with the comic allows the inclusion of religious concerns to be a natural part of what is originally a socially oriented art form.
Sylvia came to live among the shepherds of Arcadia. She and the shepherd Thyrsis are in love. But then she is abducted. Why? What is her true identity? And what is the parentage of Thyrsis, who was found as a child by a shepherd? What will become of Sylvia and Thyrsis when the shepherds are called to entertain the royal court of Arcadia? And what will come of the romantic entanglements of some of the other shepherds and shepherdesses? Joseph Rutter was a member of Ben Jonson's circle of poets, known for his translation of Corneille's The Cid. The Shepherd's Holiday: A Pastoral Tragi-Comedy enjoyed some popularity in its day. The play was performed about 1634 at the Palace of Whitehall before King Charles I and Queen Henrietta Maria, and received public performances at the Cockpit Stage, Drury Lane, London. Professor Felix Emanuel Schelling considered the play "an estimable piece of work not wanting in dramatic power or poetic embellishment."
With imagination and flair, the author also introduces the idea of a play ethic, as opposed to a work ethic, and demonstrates the importance of play as a necessary and desirable component of the comic spirit. The Comedy of Survival is a book for literary critics, environmentalists, human ecologists, philosophers, and anthropologists. General readers, too, will find much to ponder in the author's clear explication of how all of us might become better stewards of this, our home planet Earth.
The fifteenth-century discovery of Plautus’s lost comedies brought him, for the first time since antiquity, the status of a major author both on stage and page. It also led to a reinvention of comedy and to new thinking about its art and potential. This book aims to define the unique contribution of Plautus, detached from his fellow Roman dramatist Terence, and seen in the context of that European revival, first as it took shape on the Continent. The heart of the book, with special focus on English comedy ca. 1560 to 1640, analyzes elements of Plautine technique during the period, as differentiated from native and Terentian, considering such points of comparison as dialogue, asides, metadrama, observation scenes, characterization, and atmosphere. This is the first book to cover this ground, raising such questions as: How did comedy rather suddenly progress from the interludes and brief plays of the early sixteenth century to longer, more complex plays? What did “Plautus” mean to playwrights and readers of the time? Plays by Shakespeare, Jonson, and Middleton are foregrounded, but many other comedies provide illustration and support.