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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... wonder of our world, of “our life in nature"—the sheer “pizzazz" of it all, as Dillard puts it—reduces most of us to sentences out of grade school primers.5 Confronted by the ebullience of the world of Shakespeare's comedies, its ...
... wonder of courage and action. And it is here, as the lovers meet, that Shakespearean comedy reveals the very different way it treats man and woman from that of its sources and amalogues. As the heroine generously gives tokens and ...
... wonder,” I am by no means unaware of the patriarchy's power, for example, in Measure for Measure or Pericles, and of its jealous aggrandizement especially of “real” estate and political sway. Like Juliet Dusinberre, I am perhaps not ...
... wonder!) If you be maid or no? Mir No wonder, sir, But certainly a maid. Fer My language? heavens! I am the best of them that speak this speech, Were I but where 'tis spoken. Pros. How? the best? What wert thou, if the King of Naples ...
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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 |