By Elliot Krieger
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Extra resources for A Marxist Study of Shakespeare’s Comedies
I. 85-9) 26 A Marxist Study of Shakespeare's Comedies The Venetians divide their fortunes specifically so as to avoid the risk oflosing everything at once; to be incorporated into Belmont one must, in a single action, "give and hazard all he hath". These two rudimentary moral systems are not diametric opposites, however, but are antithetic terms within a single dialectical system. To understand the interdependence of the supposedly opposite moralities we must distinguish between the aristocratic fantasies of unlimited, organic wealth and the material base of wealth as correspondent to a specific and limited supply of capital.
237~40) She uses her imagination to turn Demetrius and Lysander into actors, and thereby to purge their actions of sexual impulses. Since she sees the advances only as acts or as material for composition, she can become an appreciative audienceLysander: My love, my life, my soul, fair Helena! Helena: 0 excellent! (246~ 7) 46 A Marxist Study of Shakespeare's Comedies -as opposed to a physical participant in the action. Hermia assumes that the hatred that she experiences derives directly from a rhetorical act: "Puppet"?
I 52~ 3) and that she finds him again by pursuing his language: Thou are not by mine eye, Lysander, found; Mine ear, I thank it, brought me to thy sound. (III. ii. I8I~2) Helena interprets the adoration suddenly offered her as nothing but words, and therefore as nothing: These vows are Hermia's. Will you give her o'er? Weigh oath with oath, and you will nothing weigh. Your vows to her and me, put in two scales, Will even weigh; and both as light as tales. (III. ii. I30~3) She correctly notices the one-sidedly linguistic, and conventional, quality of the male lovers' behavior-"to vow, and swear, and superpraise my parts, /When I am sure you hate me with your hearts" (I 53~ 4).
A Marxist Study of Shakespeare’s Comedies by Elliot Krieger