The Comedy of Errors | Identity
In the first essay, Barbara Freedman explores the concept of identity (primarily as it is evidenced in the characters of Aegon and the Antipholi) in the play, integrating such discussions as what she sees as the plot's three-part structure, the centrality of monetary and marital debts (and their intersection), and the importance of redemption. In the second brief excerpt, Barry Weller explores how Antipholus of Syracuse ultimately fails in his search for the "confirmation and completion of his identity" in his twin brother. Gail Paster, in the final excerpt, argues that "only by attending to the nature of the urban environment. . . can the play's deep concern wth the ambiguities of personal and civic identity become fully revealed."
Barbara Freedman
[In the following essay, Freedman explores the concept of identity (primarily as it is evidenced in the characters of Aegeon and the Antipholi) in the play, integrating such discussions as what she sees as the plot's three-part structure, the centrality of monetary and marital debts (and their intersection), and the importance of redemption.]
Virtually every good critical introduction to The Comedy of Errors apologizes for the play. Shakespeare was a mere youth, so the story begins, when he wrote the work, "still without too much to say about love,...
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