Comedy Of Errors Research Articles

Shakespeare at Antioch

NTIOCH has finished Shakespeare-or, at any rate, has produced thirty-six Shakespearian plays, one of which was a tele4 ^ scoping of the three parts of Henry VI. In its fifth season' under the direction of Arthur Lithgow, the Shakespeare Festival at Antioch College, Yellow Springs, Ohio, has offered All's Well That Ends Well, Love's Labour's Lost, Comedy of Errors, Measure for Measure, Much Ado About Nothing, Hamlet, and King Lear. More remarkable than the curiosity of a production of all of Shakespeare is the fact that a large public has been convinced that Shakespeare, from beginning to end, makes a good show. The ambitious project, which creaked uncertainly in I952 with the Chronicle Plays, has been a practical success. This year the Festival expanded to two companies, dividing the plays between them, and performed them tandem fashion on alternate weeks on the multi-level, wide-ramp outdoor stage at the College and on a similar stage in the Toledo Zoological Gardens amphitheatre. Audiences have come. The plays have an immediacy which more recent and less modern attempts at entertainment fail to provide. The euphuism and topicality of Love's Labour's Lost make it a delight for the connoisseur-but only in professional production can one see how astonishingly well it holds together as a play. This company attacked the frothy waves of satire with energy and buoyant gaiety. The four pairs of lovers twinkled through a fandango of swollen sentiments and language, not quite kidding themselves, while the curate (a fine portrayal by Jack Bittner) and the schoolmaster croaked their Latin from the swamp. Armado and Moth (Kelton Garwood -and Helen Fox) exhausted all wittiness. But it was Costard, the clown, who emerged as a kind of central figure: a peasant reminder of some rational center in a fashionmad world. Ralph Drischell, a veteran with the company and a rapidly developing comedian, played the part with wise illiteracy. In the song at the end, certainly one of Shakespeare's richest lyrics, the earthy theme dominates, bringing the play laughingly back to reality, where milk freezes in the pail and spring brings not Petrarchanism but cuckoos. All's Well, another puzzling and difficult play, comes through as a surprisingly quick-paced yarn. Bertram, a bloodless and perverse snob, is, like Prince Hal, in the clutches of a miles gloriosus. But the theme which is benevolently treated in Henry IV is more bitterly realized in All's Well. Parolles (also played by Drischell) is at first only coarsely amusing, but he shows himself clearly a corrupter of youth when he encourages Bertram to desert his unbedded

Tooth form and face form, is it a “comedy of errors”?

Tooth form and face form, is it a “comedy of errors”?

A Comedy of Errors

The following question came near to being set in a recent examination: The area of a triangle is calculated from the formulawhere 2s = a + b + c. It is known that the measurements of the sides are correct to within 1 per cent. Find the greatest possible percentage error in the area.

The Record of a Fish, Scorpaena mystes, from California: A Comedy of Errors

The Record of a Fish, Scorpaena mystes, from California: A Comedy of Errors

British Food Journal Volume 47 Issue 8 1945

British Food Journal Volume 47 Issue 8 1945

A Comedy of Errors

A Comedy of Errors

Amerigo: A Comedy of Errors in History. By <italic>Stefan Zweig</italic>. Translated by <italic>Andrew St. James</italic>. (New York: Viking Press. 1942. Pp. 128. $2.00.)

Journal Article Amerigo: A Comedy of Errors in History. By Stefan Zweig. Translated by Andrew St. James. (New York: Viking Press. 1942. Pp. 128. $2.00.) Get access Amerigo: A Comedy of Errors in History. By Zweig Stefan. Translated by James Andrew St.. (New York: Viking Press. 1942. Pp. 128. $2.00.) W. J. Wilson W. J. Wilson Washington, D. C. Search for other works by this author on: Oxford Academic Google Scholar The American Historical Review, Volume 48, Issue 1, October 1942, Pages 86–87, https://doi.org/10.1086/ahr/48.1.86 Published: 01 October 1942

Amerigo: A Comedy of Errors in History

Amerigo: A Comedy of Errors in History

Shakespeare on the Stage in Restoration Dublin

The Folger Shakespeare Library possesses a number of separate plays, all from the Shakespearian Third Folio, and all bearing unmistakable signs of theatrical annotation. They were acquired by Mr. Folger from a variety of sources: the majority were bought from a bookseller in Munich, one was purchased in London, and another came with the Warwick Castle collection of Shakespeariana. There are nine plays in all: The Comedy of Errors, The Merry Wives of Windsor, Twelfth Night, The Winter's Tale, Henry VIII, Timon of Athens, Macbeth, King Lear, and Othello, but three of them—The Merry Wives, Macbeth, and Othello—are imperfect. It soon became clear that they were all from the same original volume, which, apparently, had belonged to Halliwell-Phillipps and was dismembered by him. The bindings of the separate plays—half leather, with boards of marbled paper or purplish-brown cloth—are obviously all the work of one binder, and are similar to the bindings of other books which have passed through Halliwell-Phillipps's hands. In addition, his handwriting is to be found in six of them: in The Merry Wives and Macbeth there is an inscription on one of the preliminary flyleaves, and in the other four there is a mere “C. and P.” on a fly-leaf at the end of the book.

Weirdness in the Comedy of Errors

The “The” in the title of this play may be taken in a generic sense—that is, as the author's characteristically modest intimation that he has provided merely one more species of a well recognized genus. “Here,” says he, “are the Twins of Plautus again; here is the age-old comedy of resemblances.” But time has made the “The” distinctive: here is indeed the comedy of errors. It is hard to see how the hoary sport of mistaken identities could be better worked up as the central theme of a drama.

Errors as Subjects of Comic Mirth

Previous articleNext article No AccessErrors as Subjects of Comic MirthRoger A. PackRoger A. Pack Search for more articles by this author PDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by Classical Philology Volume 33, Number 4Oct., 1938 Article DOIhttps://doi.org/10.1086/362177 PDF download Crossref reports no articles citing this article.

The Comedy of Errors

The Comedy of Errors

The Comedy of Errors

The Comedy of Errors

A Note on the Comedy of Errors

A Note on the Comedy of Errors

The Library World Volume 9 Issue 2

WHEN the open access method of lending books was first introduced on safe‐guarded lines at Clerkenwell, over twelve years ago, a considerable amount of dolorous prophecy was set free, which sometimes formed rather depressing reading for those responsible for the experiment. As time went on, it became clear that many of the prophets based their vaticinations on imperfect knowledge of the actual arrangements in use, and it was then only a simple matter of allowing complete play to one's sense of humour, while the comedy of errors proceeded. One imaginative prophet pictured the time when painstaking librarians would be supplanted by a uniformed janitor, who would assume the functions of librarian, by the easy process of supervising the filtration of readers through a turnstile, like sheep through a hurdle. Another equally resourceful Quidnunc saw in his mind's eye, all the riff‐raff of London, filing through the little Clerkenwell wicket, like a Cup‐tie crowd at the Crystal Palace, without introduction, guarantee, or slightest degree of responsibility. Probably it was only a humorist, and not a prophet, who forsaw the introduction of weighing machines at both entrance and exit wickets, as a means of preventing wholesale thefts. These, and many other absurd misconceptions of the actual mechanical arrangements employed to overcome various anticipated difficulties, formed a considerable proportion of the prophetic utterances which advertised the open access system in its early days.

Book Review: The Comedy of Errors

Book Review: The Comedy of Errors

Twelfth Night; The Comedy of Errors; King Richard II.; King Richard III.; King Henry V.; Cymbeline; Sonnets; Poems

Journal Article Twelfth Night; The Comedy of Errors; King Richard II.; King Richard III.; King Henry V.; Cymbeline; Sonnets; Poems Get access Notes and Queries, Volume s9-XI, Issue 266, 31 January 1903, Page 100, https://doi.org/10.1093/nq/s9-XI.266.100b Published: 31 January 1903

III.—Plant-stems in the Guttannen Gneiss

An important paper on the reputed occurrence of fossil plant-stems in gneiss of Carboniferous age at Guttannen, Switzerland, by Messrs. E. v. Fellenberg & C. Schmidt, for a copy of which I am indebted to the courtesy of the authors, closes, if their view be adopted, a comedy of errors. On this account a brief outline of the story may be of service; for it reduces this supposed relic of Palæozoic forests to a lusus naturæ, and, in any case, once more illustrates the truth of the saying, “we are all fallible mortals.”

Comedy of errors

Comedy of errors