CRITICISM

Christensen, Ann C. “‘Because Their Business Still Lies Out a' door’: Resisting the Separation of the Spheres in Shakespeare's The Comedy of Errors.” Literature and History 5, no. 1 (spring 1996): 19-37.

Contends that in The Comedy of Errors Shakespeare examined Elizabethan concerns about the increasing separation between the public/commercial and private/domestic spheres.

Freedman, Barbara. “Errors in Comedy: A Psychoanalytic Theory of Farce.” In Shakespearean Comedy, edited by Maurice Charney, pp. 233-43. New York: New York Literary Forum, 1980.

Contends that the genre of farce in general, and The Comedy of Errors in particular, deliberately denies and displaces meaning, a practice necessary for ordinarily unacceptable aggression to be accepted in a humorous manner.

Hennings, Thomas P. “The Anglican Doctrine of the Affectionate Marriage in The Comedy of Errors.” Modern Language Quarterly 47, no. 2 (June 1986): 91-107.

Argues that unlike its Plautine source, The Comedy of Errors ultimately celebrates Christian society, family, and marriage.

Maguire, Laurie. “The Girls from Ephesus.” The Comedy of Errors: Critical Essays, edited by Robert S. Miola, pp. 355-92. New York: Garland Publishing, Inc., 1997.

Argues that The Comedy of Errors offers two distinct models for female behavior through the characters of Adriana and Luciana.

Marcotte, Paul J. “Eros in The Comedy of Errors.” Revue de l'Universite d'Ottawa 38, no. 4 (October-December 1968): 642-67.

Explores how Shakespeare's concept of love influenced The Comedy of Errors.

Salgādo, Gāmini. “‘Time's Deformed Hand’: Sequence, Consequence, and Inconsequence in The Comedy of Errors.” Shakespeare Survey 25 (1972): 81-91.

Demonstrates the way in which The Comedy of Errors uses its form, language, and plot to manipulate the audience's understanding of temporal sequence.