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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... Claudio does, “All the gates of love” (MAdo, IV.i.105), it is their very living and suffering like women, immured and penitential or simply hopeful and patient, that helps them gain faith in women and reflects a wholesale change in ...
... the “Elizabethan world picture” and its biased views of men and women be taken as a guide to the marriages finally made between Proteus and Julia, Duke Orsino and Viola, Claudio and Hero, Bertram and Helena, 8 INTRODUCTION.
... Claudio sees Hero as Venus rather than as Diana. For a man to see as a woman does is to avoid being pulled down into a world reminiscent of the tragedies, where dream overwhelms reality and madness enslaves reason. In their madness, men ...
... Claudio for believing his eyes, or Posthumus his ears? It was Shakespeare's great genius, however, not to see two sorts of women, but only one sort viewed by men in two contradictory ways. The love story in Shakespearean comedy thus ...
... Claudio, Duke Orsino) or because they exercise prerogatives in marrying or in concluding marriage contracts. In this regard, Shakespeare's comedies differ markedly from those of Plautus and Terence where the old father, though separated ...
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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 |