The Love Story in Shakespearean ComedyUniversity Press of Kentucky, 1992 - 238 Seiten The relationship between the sexes was of paramount importance to Shakespeare and his audience. 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 stories he inherited from New Comedy and Greek romance. In his insistence that romance be both threatened and healed from within, he created comedies reflective of the complexity of human interaction. 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 lovers' 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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Inhalt
The Spirit of My Father | 11 |
We Cannot Fight for Love | 31 |
Any Bar Any Cross Any Impediment | 48 |
We Are All Bastards | 73 |
Patience on a Monument | 104 |
The Marriage of True Minds | 170 |
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Admetus Adriana Alcestis All's Antipholus Antipholus's Antonio asks attitudes audience Bassanio bastard Beatrice beauty become Benedick Bertram Claudio Cloten Comedy of Errors cuckold Cymbeline daughter dead death describes Diana disguise Don John dream Duke earlier Elizabethan Euripides fact father feel female Florizel Friar Gentlemen of Verona happy ending Helena Hermione Hermione's hero hero's heroine Hippolytus husband III.ii Imogen Isabella Jachimo Julia Kate King lady Leontes less live love story Love's Labour's Lost lovers Lucentio Luciana Marina marriage marry Measure for Measure Menaechmi Merchant of Venice misogyny mother Mucedorus Navarre Olivia Orlando passive patience Paulina Perdita Pericles Petruchio play ends play's Polixenes Portia Posthumus Posthumus's Proteus rejection relationship Renaissance ring romance Rosalind scene seems sense separation sexual Shakespearean comedy Shrew simply social sort stereotypical suggests tells Thaisa thee thou tragedy transformation Troilus Univ Viola whore wife Winter's Tale woman women wonder young