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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... tells his love story certainly changes: he matures as a poet, his imagery develops and his prose becomes a more sensitive instrument, he grows more adept at working various plots into a cohesive play, and, most importantly ...
... telling both to the male characters and to the audience. On this most crucial of issues for understanding Shakespeare's attitude toward female characters and gender relations in general, a good deal has been written in the last fifteen ...
... tells us early in The Taming of the Shrew; he now seeks his fortune “farther than at home, / Where small experience grows” (51-2). Sebastian, in Twelfth Night, comes ashore in Illyria and is soon approached by Olivia, but not before we ...
... tells us, “Plautus would not have it so—he broke down a bridge that lay on the youth's route” to Athens.9 Thus, more often than not, Shakespeare's heroes are in a significantly different position from that of their counterparts in Roman ...
... tells [me] in that glory once he was; Had princes sit like stars about his throne, And he the sun for them to reverence; None that beheld him but, like lesser lights, Did vail their crowns to his supremacy; Where now his [son's] like a ...
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 |