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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... less alike than The Two Gentlemen of Verona and Measure for Measure, and yet, in each, a man forsakes the woman he will eventually marry for a sexual attraction to an unavailable woman, and a woman who is restrained by disguises or ...
... 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 remarkable journey ...
... less public and practical than political power but that is, nevertheless, remarkably telling both to the male characters and to the audience. On this most crucial of issues for understanding Shakespeare's attitude toward female ...
... less likely to happen. Viewed in this way, Shakespearean comedy can be said to work through those problems that, in other contexts, cause the disasters of tragedy. In act 3 Othello says of Desdemona, “Perdition catch my soul/ But I ...
... less susceptible to the external pressures fathers so often exercise in Roman comedy. Shakespeare's plays tend, therefore, to focus on consequential matters, those that are internal and psychological—the force of memory, conflicts ...
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 |