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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... young men who are invigorated by their freedom to travel and to contract themselves in marriage, and those who seem burdened by a sense of themselves as the vector through whom family name and honor are to be transferred to posterity ...
... young man's steering his way around the external threats of mermaids and sirens, or past golden caskets hiding the death's-head of female lust. Were the women genuinely threatening, who would blame Navarre for denying the Princess of ...
... young man from his father. Though this division between parent and child is ordinarily cordial and no sign of a change in either the son's or the father's loyalties, it has a profound effect on the young man's social position, attitudes ...
... young lord Pericles” rules Tyre because he has inherited the crown following his illustrious father's death. Indeed, only eight of the major male characters in Shakespearean comedy have fathers who are alive when the play begins. 7 We ...
... young man's father is alive, his power to affect the son in tangible ways is considerably diminished, primarily because Shakespeare physically distances the two. Although they all wind up in Ephesus on the same day, Antipholus of ...
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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 |