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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... hero himself who is love's own worst enemy.7 Locating the central conflict in the hero rather than in an angry father or a tempest at sea is a radical shift that alters the love story by deepening characterization and by making the ...
... heroes in The Hero with a Thousand Faces. I thought that the alternative approach, devoting a chapter to each of the comedies, would soon prove as tiresome to write as to read, for I am one of those who studies Shakespearean comedy, not ...
... hero and heroine and their different reactions to romance; Chapter 3 describes the ways in which lovers part; and in Chapters 4 and 5, I discuss the psychosocial effects of that separation, again treating each sex independently. Chapter ...
... hero's; when she is not the favored child of the ruling family she is thought to possess quasi-magical powers or is associated with the leading religious figure in the play. In her connection with the otherworldly, as in so much else ...
... heroes, Bertram no less than Florizel, drive toward that bastardy of which Posthumus despairs. As the hero tends toward the ideology or position of the illegitimate, the heroine, separated from her lover or husband, undergoes her own ...
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 |