"How are unwarranted dislikes and prejudices portrayed in the works of Shakespeare and to what extent does Shakespeare differ from his contemporaries in their portrayal? What can we learn about Shakespeare's times and our own through a close reading of prejudice depicted in his plays? In this study, B. J. Sokol examines what King Edward in Henry VI Part III calls 'your scorns and mislike' (4.1.23) - the unfounded prejudices depicted in Shakespeare's works and targeted at five distinct areas: education, the arts, peace, 'strangers' or outsiders and sexual love. Through a close reading of his plays, comparison with the works of other Elizabethan writers and a consideration of Shakespeare's social environment, this study provides a detailed appreciation of Shakespeare's dramatic method and his insights into the psychological motivations behind the prejudices portrayed. Presenting Shakespeare's prejudice against education, Sokol examines numerous representations of pupils, teachers and schooling, focusing on anti-educational prejudices in The Merry Wives of Windsor and in King Henry VI. Part 2 The distaste of characters for art is considered alongside Shakespeare's repeated depiction of the destructive downgrading of the arts that erupts during political upheavals, while prejudice against peaceful living is traced in Shakespeare's various portrayals of 'honour'-driven feuding, such as in Romeo and Juliet , and in warrior characters such as Coriolanus. Prejudice against strangers as depicted in plays including Titus Andronicus, Othello and The Merchant of Venice is contrasted with that of plays by his contemporaries, including Christopher Marlowe's The Jew of Malta. A final chapter examines prejudice against sex and the representation of many male and female characters who evade the erotic, subordinate the erotic to power seeking, or regard their own or others' erotic attachments with revulsion."--

This book is a masterful and engaging exploration of both Shakespeare's works and his age. Concentrating on six recurring prejudices in Shakespeare's plays--such as misogyny, elitism, distrust of effeminacy, and racism--Robert Brustein examines how Shakespeare and his contemporaries treated them. More than simply a thematic study, the book reveals a playwright constantly exploiting and exploring his own personal stances. These prejudices, Brustein finds, are not unchanging; over time they vary in intensity and treatment. Shakespeare is an artist who invariably reflects the predilections of his age and yet almost always manages to transcend them. Brustein considers the whole of Shakespeare's plays, from the early histories to the later romances, though he gives special attention to Hamlet, King Lear, Othello, and The Tempest. Drawing comparisons to plays by Marlowe, Middleton, and Marston, Brustein investigates how Shakespeare's contemporaries were preoccupied with similar themes and how these different artists treated the current prejudices in their own ways. Rather than confining Shakespeare to his age, this book has the wonderful quality of illuminating both what he shared with his time and what is unique about his approach.

Examines the manifestations of racism, sexism, and homophobia in the literary works of Shakespeare, Mary Shelley, Joseph Conrad, and Toni Morrison.

It is a truth universally acknowledged, that there once lived a playwright named William Shakespeare. What is not universally acknowledged is that he was deeply attached... to a woman named Elizabeth Bennet. London, England, in 1599 and the playwrights of Elizabethan theatre are in competition always as the Globe Theatre opens to the excitement of all just as Fitzwilliam Darcy arrives from London with his cousin, Richard Fitzwilliam. In a desire to settle down and establish himself in England, he is desirous of finding a residency, and the last thing he wishes is to make a foolish match and least of all to become enamored with a lowly commoner. Unknown to him is that in town, there is a woman named Elizabeth Bennet, a lowly commoner who financially supports her family. One of five very independent sisters, Elizabeth is determined to always make ends meet, while also not being afraid to bend the rules of society in being friends with an Elizabethan playwright named William Shakespeare. Yet when her affluent friend, Charlotte Lucas, wishes Elizabeth to attend a ball with her, Elizabeth dresses above her station to go, and there meets Fitzwilliam Darcy , a man who would change her life forever. Follow the reimagining of Pride and Prejudice as Elizabeth Bennet is torn between a happily ever after that she may not be able to possess, and her comfortable life with William Shakespeare, the man who would become a legend.

A tale of friends, enemies, and the power of love. "Thou and I are too wise to woo peaceably." - Benedick, Much Ado About Nothing, 5.2 Mr. Darcy's arrival in Meryton raises many people's disdain, and Elizabeth Bennet's ire. An insult at a dance is returned in full measure, and soon the two find themselves in a merry war of words, trading barbs at every encounter. Matters go from bad to worse when Elizabeth and Darcy find themselves living under the same roof for a time, and their constant bickering frays everybody's nerves. Will a clever scheme by their family and friends bring some peace to Netherfield's halls? And what of Mr. Wickham, whose charming presence is not quite so welcome by some members of the party? When the games get out of hand and nastier elements come into play, will everybody's chances for happiness be ruined forever? This clever mash-up of Pride and Prejudice and Shakespeare's Much Ado About Nothing casts our beloved characters in fresh light, uniting Jane Austen's keen insight into love and character, and Shakespeare's biting wit. Much Ado in Meryton is a full-length novel of about 80,000 words.

Unless one knows the value of loyalty, he cannot appreciate the cost of betrayal. What if Darcy and Elizabeth met weeks before the Meryton assembly? What if there is no barely "tolerable" remark to have Elizabeth rejecting Mr. Darcy's affections, but rather a dip in a cold creek that sets her against him? What if Mr. Bennet is a renown Shakespearean scholar who encourages Darcy to act the role of Petruchio from Shakespeare's "The Taming of the Shrew" to bring Elizabeth's Katherina persona to the line? ELIZABETH BENNET's pride has her learning a difficult lesson: Loyalty is hard to find, and trust is easy to lose. Even after they share a passionate kiss outside the Meryton assembly hall and are forced to marry, Elizabeth cannot forget the indignity she experienced at the hands of Fitzwilliam Darcy. Although she despises his high-handedness, Elizabeth appreciates the protection he provides her in their marriage. But can she set her prejudice aside long enough to know a great love? FITZWILLIAM DARCY places only two demands on his new wife: her loyalty and her trust, but when she invites his worst enemy to Darcy House, he has no choice but to turn her out. Trusting her had been his decision, but proving his choice the right one before she destroys two hearts meant to be together must be hers, and Darcy is not certain Elizabeth is up to the task.

"I love you according to my bond," says Cordelia to her father in King Lear. As the play turns out, Cordelia proves to be an exemplary and loving daughter. A bond is both a legal or financial obligation, and a connection of mutual love. How are these things connected? In As You Like It, Shakespeare describes marriage as a "blessed bond of board and bed": the emotional, religious, and sexual sides of marriage cannot be detached from its status as a legal and economic contract. These examples are the pith of Frederick Turner's fascinating new book. Based on the proven maxim that "money makes the world go round," this engaging study draws from Shakespeare's texts to present a lexicon of common words, as well as a variety of familiar familial and cultural situations, in an economic context. Making constant recourse to well-known material from Shakespeare's plays, Turner demonstrates that the terms of money and value permeate our minds and lives even in our most mundane moments. His book offers a new, humane, evolutionary economics that fully expresses the moral, spiritual, and aesthetic relationships among persons, and between humans and nature. Playful and incisive, Turner's book offers a way to engage the wisdom of Shakespeare in everyday life in a trenchant prose that is accessible to lovers of Shakespeare at all levels.

Previous criticism has not adequately discussed oriental aspects of the content of Shakespearean drama. In addition to his portrayal of oriental figures (such as Cleopatra, Othello, and Shylock) and his use of literary genres and motifs that have roots in oriental tradition (such as that of the tragic romance in Romeo and Juliet, there are certain key elements in Shakespeare's thought and outlook that can only be properly understood within the larger contribution of the oriental legacy. This legacy has clear relevance not only to the exemplary fate of the lovers in Romeo and Juliet, but also to the destinies of such major Shakespearean heroes as Hamlet and Lear. Shakespeare, the Orient, and the Critics investigates the boundaries of oriental framework within works such as Hamlet, King Lear, and The Tempest. Stylistically, at the heart of Shakespeare's orientalism are two long-recognized features of his dramatic art: his predilection for reversing stereotypes and his sympathy and identification with the alien and the «other.» This can be most clearly seen in the love tragedies of Othello and Anthony and Cleopatra as well as the romantic comedy of The Merchant of Venice. Ultimately, the philosophic underpinning of such works is a special expression of Renaissance humanism that transcends the boundaries of class, race, and culture.

Drawing on both historical analysis and theories from the modern affective sciences, Shakespeare and Disgust argues that the experience of revulsion is one of Shakespeare's central dramatic concerns. Known as the 'gatekeeper emotion', disgust is the affective process through which humans protect the boundaries of their physical bodies from material contaminants and their social bodies from moral contaminants. Accordingly, the emotion provided Shakespeare with a master category of compositional tools – poetic images, thematic considerations and narrative possibilities – to interrogate the violation and preservation of such boundaries, whether in the form of compromised bodies, compromised moral actors or compromised social orders. Designed to offer both focused readings and birds-eye coverage, this volume alternates between chapters devoted to the sustained analysis of revulsion in specific plays (Titus Andronicus, Timon of Athens, Coriolanus, Othello and Hamlet) and chapters presenting a general overview of Shakespeare's engagement with certain kinds of prototypical disgust elicitors, including food, disease, bodily violation, race and sex disgust. Disgust, the book argues, is one of the central engines of human behaviour – and, somewhat surprisingly, it must be seen as a centrepiece of Shakespeare's affective universe.