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• W1972373359 abstract "IntroductionHamlet  Have you a daughter?Polonius    I have my lord.Hamlet  Let her not walk i' th' sun. Conception is a blessing. But as your daughter may conceive -- friend look to 't.Polonius  How say you by that? (Aside) Still harping on my daughter.It was almost inevitable that feminist criticism, even before it had begun to clarify its ideas of peculiarly feminist approaches to the literature of the nineteenth and twentieth centuries, would try its teeth on that most patriarchal body of texts, the works of William Shakespeare. It was as predictable, I suppose, that the collection of studies which emerged would be fragmentary, confusing and contradictory. What was less expected was that feminist studies of Shakespeare would be so predictable as criticism -- that they would be marked, almost without exception, by an all too familiar sameness in their reverence for the realism of Shakespeare's plays. The present work was written on a growing tide of personal irritation at the apparent inability of such critics to break with the conventions of orthodox Shakespeare criticism, except in their single-minded preoccupation with the female characters in the plays, and their hostility to the chauvinistic attitudes the plays incorporate. Just concentrating on the female characters, or protesting as political feminists at the sexist views expressed by the male characters, will not get us very far with a feminist Shakespeare criticism appropriate to the 1980s.There appear currently to be two main lines of approach to Shakespeare's drama within a feminist perspective (in some cases it would be more appropriate to dub them 'lines of attack'). The first assumes that Shakespeare has earned his position at the heart of the traditional canon of English literature by creating characters who reflect every possible nuance of that richness and variety which is to be found in the world around us. His female characters, according to this view, reflect accurately the whole range of specifically female qualities (which qualities are supposed to be fixed and immutable from Shakespeare's own day down to our own). In the words of a prominent female Shakespearean actor:   From the point of view of an actress, the Shakespearean women are most   satisfactory people, for when portrayed they actually seem to feed the artist   even when she is giving out the most of herself in the performance of her part.   They are so true; their nobility, beauty, tenderness, loveliness, lightheartedness,   subtlety, provocativeness, passion, vengefulness, worthlessness, stupidity   and a hundred more qualities so entirely right from the feminine point   of view that they provide a field the most ambitious artist could scarcely hope   to cover.'Shakespeare's vision of women transcended the limits of his time and sex', even if his inspired vision was dimmed by those who subsequently directed his works on the stage. This means, we are told, that Shakespeare's women characters 'offer insights into women's perceptions of themselves in a patriarchal world'." @default.
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• W1972373359 date "1983-01-01" @default.
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• W1972373359 title "Still Harping on Daughters: Women and Drama in the Age of Shakespeare" @default.
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