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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... seem comfortably familiar, for scholarship has revealed sources and Shakespeare has been placed in a genealogical tree. The Comedy of Errors seems a romanticized version of Plautus's Menaechmi, The Taming of the Shrew more sophisticated ...
... seems one of those “sudden appearances” by which Stephen Jay Gould describes Darwinism.6 Though we have recently come to appreciate the seriousness and complexity of Shakespeare's comedies (paralleling the rise in critical attention ...
... seems to the fatherless son, as it often does at the start of these plays, that his own accomplishments are insignificant or that his station in life is demeaning, his venerated father haunts him, a silent reminder of his inadequacy ...
... seems especially to be the case for those sons whose problems, like Hamlet's, appear to be less the result of outside forces than of what they see as their own inbred disposition to failure or torpor. For example, Orlando, whose ...
... seems like diamond to glass” (II.iii.36), and that her father, the King, admires him only. Separated from their fathers by death, distance, or disguise, the young men of Shakespearean comedy seem ripe for adventure. Petruchio is ...
目次
1 | |
11 | |
31 | |
3 Any Bar Any Cross Any Impediment | 48 |
4 We Are All Bastards | 73 |
5 Patience on a Monument | 104 |
6 Th Idea of Her Life | 124 |
7 The Marriage of True Minds | 170 |
Conclusion | 209 |
Notes | 213 |
Index | 231 |