Loyalty

Author(s):  
Neema Parvini

This chapter approaches the topic of loyalty in Shakespeare’s plays primarily through the lens of Antonio’s devotion to Bassanio in The Merchant of Venice and Celia’s to Rosalind in As You Like It. It argues that although these pairs of friends are differently gendered, they are structurally very similar, and marked by their total imbalance. Both Antonio and Celia demonstrate exceptional selflessness in their loyalty, despite the fact that neither Bassanio nor Rosalind come close to ever repaying their kindness. The chapter suggests that our difficulty in processing these disproportionate relationships is because they upset the moral foundation of fairness, but loyalty is not transactional. It seems, rather, that Shakespeare’s notion of friendship rested partly on the Christian (Thomist) virtue of charity. It also argues that when Shakespeare deals with loyalty, he focuses on individual relationships, as opposed to groups. In the language of modern psychological and sociological studies, this renders his friendships, and by extension his concept of loyalty, “feminine” even though the friendships he depicts are between both men and women.

2020 ◽  
Vol 23 (4) ◽  
pp. 90-120
Author(s):  
Seyyedeh Zahra Nozen ◽  
Pegah Sheikhalipour

Since it was first introduced by Jacques Derrida in the late 1960s, deconstruction, as a method of reading, has been applied to literary texts by critics to reveal the hidden messages of texts and provide opportunities to rethink textual and cultural norms and conventions. While the western tradition has always prioritized tragedy over comedy due to its elegance and graveness, this research tends to focus on comedy as an entity in itself. Tragedy, especially in the Shakespearean sense of the word, has been considered by critics as a “construction” that is well-wrought and perfect in nature. Comedy, on the other hand, is notable for laughing at the laughable and mocking the unfit. Put differently, there has always been a latent, freewheeling “deconstruction” within comedy, especially the Shakespearean. There is, thus, an attempt here to prove, on the one hand, how comedy can be put forth not as an inferior genre but as a supplement to tragedy and, on the other, how comedy moves toward deconstruction and how it tends to subvert or deconstruct the constructions. Investigating a selection of Shakespeare’s comedies including As You Like It, The Merchant of Venice, and Twelfth Night, this study compares and contrasts Shakespearean comedy in light of some Derridean concepts. Along with it, Shakespearean ideas and concepts which are interconnected with those of Derrida are introduced and are buttressed through some meticulously chosen excerpts. Bearing in mind that Derrida is in a habit of deconstructing the so-called established creeds, Shakespeare’s texts are exposed to a deconstructive reading to examine how deceptively simple ideas are dealt with in his selected comedies. Also, as numerous enigmas have for years revolved around the personality of William Shakespeare, this study also aims to take up certain critical idioms of the Derridean canon, elaborate on them and then relate them to the selected plays from the Shakespearean oeuvre in order to disclose some personal aspects of Shakespeare’s personality as a historical figure.


Author(s):  
Jay L. Halio

This paper surveys the problems of identity in a number of Shakespeare’s plays, such as The Taming of the Shrew, The Comedy of Errors, As You Like It, Twelfth Night, The Merchant of Venice, Romeo and Juliet, Hamlet, and Othello. In these plays as in many others, Shakespeare explores the complexity of identity, not only through the use of disguise, as in the major comedies, but also through the problems of self-knowledge. The latter issue is prominent and explicit in King Lear when, for example, Lear asks “Who is it that can tell me who I am?” The opening words of Hamlet, “Who’s there?” introduce the problem from the outset, and much of the play is given over to characters trying to discover who the others in the play really are. Is the Ghost an honest ghost, or “a goblin damned?” Is Hamlet really mad or just putting on an “antic disposition” as he struggles to discover his proper course of action as his father’s avenger? Is Kate really a shrew, or just made to act like one by her family and others?


2018 ◽  
Vol 51 (2) ◽  
pp. 44-51
Author(s):  
Jonathan Elukin

Abstract The article explores Shakespeare’s secularized retelling of the Christian theological narrative of deceiving the Devil, with Antonio playing the role of Christ and Shylock as the Devil. The article argues that recasting the contest between Christ and the Devil in the world of Venice sets the stage for Shakespeare’s larger exploration of the pervasive nature of deceit in human affairs. Although it seems that Shakespeare’s characters are resigned to live in a fallen world where truth is obscured, Portia’s invocation of mercy may be Shakespeare’s attempt to offer some hope of an earthly salvation. The article argues that this portrait of a world filled with deception resonated with Shakespeare’s audience. Men and women in early modern England lived in a world where they often had to hide their religious identities and loyalties. This interpretation challenges more recent attempts to see the play as primarily concerned with race and tolerance.


Author(s):  
Michelle M. Dowd

This chapter addresses the prevalence of strong female characters in Shakespeare’s comedies, situating them within recent scholarship on the multidimensional status, agency, and lived experience of Englishwomen of different social classes. In particular, the chapter considers female agency in the comedies through the lens of new materialist approaches to Shakespeare and gender. Attending to such materialist concerns as inheritance, property ownership, and domestic management helps illuminate the specific forms of female authority that are enabled and disabled in the comedies. Analysing selected comedies, notably Twelfth Night, The Merchant of Venice, As You Like It, and The Two Gentlemen of Verona, this chapter argues that the perceived ‘strength’ of many of Shakespeare’s comic heroines is complexly interwoven with the material conditions of their historical moment.


2013 ◽  
Vol 10 (25) ◽  
pp. 99-119
Author(s):  
Michael Skupin

This paper discusses the circumstances of Shakespeare’s arrival in Indonesia via the translations of Trisno Sumardjo, published in the early 1950’s. Biographical material about the translator will be presented, and there will be a discussion of the characteristics the Indonesian language and of Indonesian verse which would determine the expectations of his readers, such as rhyme, meter and style, that would influence his renderings of the poetic passages in the Bard’s plays. These are illustrated in a sampling of passages from As You Like It, A Midsummer Night’s Dream, Macbeth and The Merchant of Venice. The Dutch translation of L. A. J. Burgersdijk was an indirect influence on the translations, and not always for the good. The paper concludes with a lengthy discussion of the extremely difficult problems that Sumardjo encountered in his translation of King Lear. This Lear was not published during the translator’s lifetime, Sumardjo’s prestige notwithstanding because he was not satisfied with the solutions he proposed.


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