Shakespearean Criticism: Excerpts from the Criticism of William Shakespeare's Plays and Poetry, from the First Published Appraisals to Current Evaluations, Volume 40Gale Research Company, 1984 |
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Page 54
... masculine panache which she delights to display in the boy Ganymede . Theatrical disguise robs courtship of the artificial exaggeration of masculine and feminine difference sustained in the skirmishes between Phoebe and Silvius . Yet ...
... masculine panache which she delights to display in the boy Ganymede . Theatrical disguise robs courtship of the artificial exaggeration of masculine and feminine difference sustained in the skirmishes between Phoebe and Silvius . Yet ...
Page 55
... masculine woman . One way was to juxtapose the woman in disguise with the ef- feminate male adult actor . Middleton's Lactantio in More Dissemblers Besides Women is a typical Jaco- bean courtier , ' This perfum'd parcel of curl'd powder ...
... masculine woman . One way was to juxtapose the woman in disguise with the ef- feminate male adult actor . Middleton's Lactantio in More Dissemblers Besides Women is a typical Jaco- bean courtier , ' This perfum'd parcel of curl'd powder ...
Page 63
... masculine prerogatives are based on custom , not nature , since a woman can indeed successfully assume masculine positions of authority . " Portia's actions are not aimed at letting her occupy a man's place indefinitely , how- ever ...
... masculine prerogatives are based on custom , not nature , since a woman can indeed successfully assume masculine positions of authority . " Portia's actions are not aimed at letting her occupy a man's place indefinitely , how- ever ...
Contents
Gender Identity | 1 |
The Merchant of Venice | 105 |
Sonnets | 220 |
Copyright | |
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action actor Antonio appears argues audience Bassanio become begins bond calls castration characters choice Christian circumcision claims Cleopatra comedies comic conventional course critics daughter death describes desire discussion disguise Elizabethan essay example exchange father fear feel female feminine figure final flesh gender give hand heart hero heroines human husband identity interest John kind Lady less lines live London look lover Macbeth male marriage masculine means Merchant of Venice moral mother nature never offers person play plot poems political Portia possible present Press reading refer relations relationship rhetorical ring role Rosalind says scene seems sense sexual Shake Shakespeare Shylock social sonnets speak speech spirit stage suggests tell thing thou tion tragedy true turn University wife woman women York young