Smiješno i/ili komično u bračnom životu Držićevih likova

Polazeći od dviju rasprava Dunje Fališevac, o starom Freudu u posjetu Marinu Držiću te o rezigniranom renesansnom “junaku” Tripčetu, potom od teze da se renesansne komedije razvijaju “u dvije istodobno dobro uređene sekvence: naraciju i retoričku raspravu” (Levenson 1990) i podjele prikaza muško-ženskih odnosa u tri etape koje se prema S. Greenblattu nazivaju “prosidba, vjenčanje i pokora”, u ovom se priopćenju tematiziraju obrasci udvaranja i prosidbe u Grižuli i Skupu, donekle i u Dundu Maroju, potom jedino uprizoreno vjenčanje, u Arkulinu, i napokon “nevoljni brakovi” kao “pokora” u komediji Tripče de Utolče. Ističu se, dakako, njihova smiješna i komična obilježja.
The paper draws on two papers written by Dunja Fališevac - on aged Freud’s visit to Marin Držić, and on the resigned renaissance “hero” Tripče - but also on the hypothesis that renaissance comedies “simultaneously educe two different, well arranged sequences: narration and rhetorical argument” (Jill Levenson) as well as the three stages of male-female relationship which Steven Greenblatt names “proposal, marriage and penance”. The paper analyzes courtship and proposal patterns in Grižula and Skup (peripherally also in Dundo Maroje), a staged wedding in Arkulin and “unwilling marriages” as “penance” in the comedy Tripče de Utolče. The analysis focuses on their amusing and comic features.