Shakespeare's DaughtersMcFarland, 28.06.2010 - 191 Seiten The father-daughter relationship was one that Shakespeare explored again and again. His typical pattern featured a middle-aged or older man, usually a widower, with an adolescent daughter who had spent most of her life under her father's control, protected in his house. The plays usually begin when the daughter is on the verge of womanhood and eager to assert her own identity and make her own decisions, especially in matters of the heart, even if it means going against her father's wishes. This work considers Capulet in Romeo and Juliet as an inept father to Juliet and Prospero in The Tempest as an able mentor to Miranda; Hermia in A Midsummer Night's Dream, Jessica in The Merchant of Venice and Desdemona in Othello as daughters who rebel against their fathers; Hero in Much Ado About Nothing, Lavinia in Titus Andronicus and Ophelia in Hamlet as daughters who acquiesce; Bianca in The Taming of the Shrew and Goneril and Regan in King Lear as daughters who cunningly play the good girl role; Portia in The Merchant of Venice, Viola in Twelfth Night and Rosalind in As You Like It as daughters who act in their fathers' places; and Marina in Pericles, Perdita in The Winter's Tale and Cordelia in Lear as daughters who forgive and heal. |
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... feelings and motives, and into the consequences of treating others in particular ways. Such factors are crucial to the family relationship that Shakespeare depicted in play after play: that between father and daughter. Juliet and ...
... feelings and needs of her own? How well does he understand her? How willing is he to trust her to make this choice? The issue, in other words, is control. If the father hampers or humiliates the daughter, she must circumvent him in ...
... feelings. They insist above all that the daughter be Good — i.e., obedient and chaste. To put it another way, the Good Girl must be conveniently free of will, in both the usual sense of volition and the peculiarly Elizabethan one of ...
... feeling. Shakespeare implies that the good father not only expresses but practices the values that he wants his child to emulate. At great cost to his own comfort, Prospero chooses generosity over egotism, candor over affectation ...
... feelings if not offer easy answers. One reason is the intensity of Shakespeare's focus. His characters live not in the expansive landscape of novels but in the limited world of plays. We do not see the whole fabric of the heroine's life ...
Inhalt
1 | |
5 | |
13 | |
Daughters Who Rebel Hermia A Midsummer Nights Dream Jessica The Merchant of Venice and Desdemona Othello | 35 |
Hero Much Ado About Nothing Lavinia Titus Andronicus and Ophelia Hamlet | 69 |
The Taming of the Shrew and King Lear | 93 |
Portia The Merchant of Venice Viola Twelfth Night and Rosalind As You Like It | 125 |
Marina Pericles Perdita The Winters Tale and Cordelia King Lear | 151 |
Conclusion | 178 |
Index | 181 |