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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... dead, buried beneath male clothes and frozen in time, like a statue of Patience on a marble monument. The iconography of Patience, in fact, with its emphasis on hope and its use of stone as primary symbol, I compare to the active ...
... dead and alive, male and female, and capable of being in two places at the same time. Though the audience almost always knows that what appears to be is not what is, the male characters infrequently do, and these plays typically end ...
... dead; and “young lord Pericles” rules Tyre because he has inherited the crown following his illustrious father's death. Indeed, only eight of the major male characters in Shakespearean comedy have fathers who are alive when the play ...
... dead and are on different parts of the island for most of The Tempest, and in Troilus and Cressida Shakespeare, constrained by a familiar literary tradition, nonetheless keeps father and son apart. As far as the love story between ...
... dead, I shall have more than you can dream of yet, Enough then for your wonder. But come on, Contract us 'fore these witnesses. Shep. Come, your hand; And, daughter, yours. Pol. Soft, swain, awhile, beseech you. Have you a father? Flo ...
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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 |