The Love Story in Shakespearean ComedyUniversity Press of Kentucky, 2014/10/17 - 248 ページ In this fascinating study, Anthony J. Lewis argues that it is the hero himself, rejecting a woman he apprehends as a threat, who is love's own worst enemy. Drawing upon classical and Renaissance drama, iconography, and a wide range of traditional and feminist criticism, Lewis demonstrates that in Shakespeare the actions and reactions of hero and heroine are contingent upon social setting—father-son relations, patriarchal restrictions on women, and cultural assumptions about gender-appropriate behavior. This compelling analysis shows how Shakespeare deepened the familiar love stores he inherited from New Comedy and Greek romance. Beginning with a penetrating analysis of the hero's contradictory response to sexual attraction, Lewis's discussion traces the heroine's reaction to abandonment and slander, and the lover's subsequent parallel descents into versions of bastardy and death. In arguing that comedy's happy ending is the product of the gender role reversals brought on by their evolving relationship itself, Lewis shows in meticulous detail how sexual stereotypes influence attitudes and restrict behavior. This perceptive discussion of male response to family and of female response to rejection will appeal to Shakespeare scholars and students, as well as to the theater community. Lewis's persuasive argument, that Shakespeare's heroes and heroines are, from the first, three-dimensional figures far removed from the stock types of Plautus, Terence, and his continental sources, will prove a valuable contribution to the ongoing feminist reappraisal of Shakespeare. |
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... Bassanio wins Portia but sees in the picture of her hair a deadly threat, “A golden mesh to entrap the hearts of men / Faster than gnats in cobwebs” (MV, III.ii.122-23). More often the rejection is explicit, as when Navarre closes his ...
... Bassanio as Portia's “lord, her governor, her king” (III.ii.165) or Navarre and his lords as the equals of the intelligent and clear-sighted Princess of France and her ladies? How can the “Elizabethan world picture” and its biased views ...
... significant decisions on their own. Occasionally, their decisions are merely childish and amount to little more than running through their patrimony. Bassanio has been “something 14 THE LOVE STORY IN SHAKESPEAREAN COMEDY.
Anthony J. Lewis. more than running through their patrimony. Bassanio has been “something too prodigal” (I.i.129) and is in debt when The Merchant of Venice opens; Sir Andrew Aguedheek, a suitor, though hardly a hero, is “a very fool and ...
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目次
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11 | |
2 We Cannot Fight for Love | 31 |
3 Any Bar Any Cross Any Impediment | 48 |
4 We Are All Bastards | 73 |
5 Patience on a Monument | 104 |