By Elliot Krieger
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Extra info for A Marxist Study of Shakespeare’s Comedies
II. ii. I 20- 2) Demetrius awakens into a set of Petrarchan and pseudo-classical conventions: 0 Helen, goddess, nymph, perfect, divine! To what, my love, shall I compare thine eyne? Crystal is muddy. 0, how ripe in show Thy lips, those kissing cherries, tempting grow! That pure congealed white, high Taurus' snow, Fann' d with the eastern wind, turns to a crow When thou hold'st up thy hand. (III. ii. I 3 7- 43) Hermia, similarly, perceives Lysander as only a collection of words. She makes Lysander's "lying" pun ("Then by your side no bed-room me deny; /For lying so, Hermia, I do not lie", II.
He believes that to recover money one must waste more money,just as he would risk losing a second arrow in order to recover a first one (1. i. I 39- 52); he lacks Gratiano's ominous sense of the loss potential with adventuring forth: How like a younger or a prodigal The scarfed bark puts from her native bay, Hugg'd and embraced by the strumpet wind! How like the prodigal doth she return, With over-weather'd ribs and ragged sails, Lean, rent, and beggar' d by the strumpet wind! (II. vi. 14- 19) Bassanio's generosity, then, derives from his aristocratic assumption that wealth does not depend on current material possessions, or, put another way, that his social position assures unlimited credit.
I. 242- 5) In going to "tell him affair Hermia's flight", (246) Helena restores the verbal or the narrative aspect of her dissolved love affair with Demetrius: she replaces the lost physical love with words. Likewise, Hermia and Lysander experience love as a literary process; when they talk of love they talk not of each other but of what they have read. Lysander's lamentation, which introduces the plan to escape from Athens, derives from his consciousness not of love, but of narratives about love: Ay me!
A Marxist Study of Shakespeare’s Comedies by Elliot Krieger