"Foolery, sir, does walk about the orb like the sun": fool-characters and comic dramatic structures in Hamlet, Twelfth night and Troilus and Cressida

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http://eprints.org/relation/isVersionOf http://etheses.bham.ac.uk/id/document/27564 http://eprints.org/relation/isVolatileVersionOf http://etheses.bham.ac.uk/id/document/27564 http://eprints.org/relation/isIndexCodesVersionOf http://etheses.bham.ac.uk/id/document/27564 archive 4031 disk0/00/00/12/92 2013-03-11 10:16:10 2019-01-23 09:53:52 2013-03-11 10:16:10 thesis show 0 Markus Zoltan Matheson Thomas Pendleton ftp://ubira.bham.ac.uk/eTheses/1292_Markus/ University of Birmingham "Foolery, sir, does walk about the orb like the sun": fool-characters and comic dramatic structures in Hamlet, Twelfth night and Troilus and Cressida unpub PN2000 PR 40fac_art The thesis analyses fool-characters and comic structures in Shakespeare's three plays-each play representing a different dramatic genre. The chapter on Hamlet primarily focuses on Hamlet's fool-role originating from his "antic disposition." In Twelfth Night, the study examines the topsy-turvydom dominant in Olivia's household. Sir Toby Belch, as a Lord of Misrule, and Feste, as a professional jester, are the central characters in the analysis. In the chapter on Troilus and Cressida--a dramatic work frequently categorized as a "problem play"-the dramatic functions of two fool-characters, Pandarus and Thersites, are explored. The thesis examines the sources and theatrical traditions relevant to the analysed characters. It also investigates the various ways in which these characters create a counterweight to the social and political status quo of their respective plays, as a result of which they eventually become expelled, muted, or forced to adjust to the final social and political constellation emerging at the conclusion of the plays. 1993 1993-02 graduation 581376 eng other Scanned by Hollingworth & Moss This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. public 213 University of Birmingham School of English, Drama and American & Canadian Studies, The Shakespeare Institute m_ph na 1993 graduation