Not everyone gets their just desserts as our RomCom ends …
The Comedy of Errors, Act V
Shakespeare has plenty to do in the 400-odd lines of Act V. The general confusion needs to create a crisis before we can have our happy ending – in this case, perhaps an equivocal, unsatisfying one, but more on that later.
Antipholus (E) is NOT a twenty-first century role model – but was he a sixteenth-century one?
… but truly two.’ Robert Louis Stevenson, The Strange Case of Dr Jekyll and Mr Hyde.
PTS read through: Comedy of Errors, Act IV
In 2018, the notion of what it means to be a ‘man’ feels ever more opaque, with behaviours and attitudes being scrutinised as never before, perhaps. As a gender, we sometimes appear confused about the path we ought to take to find a satisfying and yet socially acceptable direction or self-definition.
Maybe it was ever thus.
In yesterday’s post on Macbeth I touched upon the fragility of our hero’s notions of himself when his masculinity was challenged by his wife. Macbeth is largely a play about what it means to be a man, but that’s way down the line in terms of my reading schedule. Reading Act IV of Comedy of Errors felt like one of those non-comic interludes towards the end of plays like Much Ado About Nothing, and instead of laughing, I found myself thinking about what Antipholus(E) implies a ‘man’ should be. It’s not an attractive picture …
Doormat or A-dor-ably Feisty? Luciana and Adriana swap roles in Act II …
Ponytail Shakespeare Read-Through: The Comedy of Errors, Act II
Aha! A single woman in a Shakespeare comedy – what she needs is a HUSBAND, I thought, my Jane Austen goggles firmly on. In this, I was egged on by Kent Cartwright, as I mentioned in writing about Act I, and who colluded with Jane and my previously-held assumptions.
And what a catch Luciana appears to be for our unreconstructed EMP man!