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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... play, the earlier play's lightheartedness and the latter's somber and brooding quality, as well as its penetrating look at themes that were, after all, quite important to Shakespeare: the relation between justice and mercy, and ...
... play occasionally to illustrate the salient features of my argument. Although New Comedy, in general, may be said to be built on the boy-meets-girl, boy-loses-girl, boy-gets-girl formula, Shakespearean comedy begins with the separation ...
... play ends. Understanding flows from women to men and is largely about women, sexuality, and the nature of marriage. Its effect is to clear the hero's eyes, so to speak, to help him see women more accurately, and to teach him that love ...
... play's return to the Elizabethan status quo is a return only in general terms. The nature of the trials the woman has undergone, the loyalty and strength she has demonstrated, make it virtually impossible for these plays to end without ...
... play has led are felt to be, at the very least, unions between equals rather than mere affirmations of stereotypical assumptions about how men and women relate. What we tend to believe as a ... play after play we are Introduction 9.
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 |