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 161
... male identities of Balthazar and the young male performer . In this regard , Portia differs from Julia and Rosalind , who have numerous asides both as them- selves and as their male alter egos , as well as from Viola and Imogen , who ...
... male identities of Balthazar and the young male performer . In this regard , Portia differs from Julia and Rosalind , who have numerous asides both as them- selves and as their male alter egos , as well as from Viola and Imogen , who ...
Page 278
... male and female noun must agree with the male ( ' Rex et Regina Beati ' ) because ' The masculine gender is more worthy than the femi- nine . " In the eighteenth century , however , this onto- logical and grammatical hierarchy has ...
... male and female noun must agree with the male ( ' Rex et Regina Beati ' ) because ' The masculine gender is more worthy than the femi- nine . " In the eighteenth century , however , this onto- logical and grammatical hierarchy has ...
Page 375
... male apparel to outwit the male world of fathers , authority figures , and unac- ceptable suitors , and to arrange their own marriages . In so doing , these women embodied female intelligence and audacity , readily acknowledged by ...
... male apparel to outwit the male world of fathers , authority figures , and unac- ceptable suitors , and to arrange their own marriages . In so doing , these women embodied female intelligence and audacity , readily acknowledged by ...
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