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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... death itself—and the beauty of wisdom, trust, and love. Before venturing to explicate this text and to describe the geography of this world, the critic would do well to ask himself, “Where are you-a going?” Shakespeare's comedies are ...
... death of the father—and discusses the consequences of that separation on the newly independent son. I draw a distinction between those young men who are invigorated by their freedom to travel and to contract themselves in marriage, and ...
... death. CHAPTER 3 focuses on the particularly Shakespearean nature of that rejection and on the inevitable separation of lovers. I argue that, from the first, in The Comedy of Errors, Shakespeare's heroes reveal those contradictory ...
... death has been averted by loving women and men adaptable enough to learn and change. To summarize the action of these plays as I have is to recognize that Shakespeare makes romance contingent upon social setting—family relationships, in ...
... death's-head of female lust. Were the women genuinely threatening, who would blame Navarre for denying the Princess of France “fair harbor,” or Benedick for vowing to live a bachelor, or Antipholus for hastening to the abbey, or Claudio ...
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 |