Shakespeare's numerous depictions of marriage in his comedies, histories, tragedies, and romances suggest the pivotal importance of this subject to his dramas. Contemporary scholars are interested in Shakespeare's diverse portrayals of marriage, which present wedlock as the end of comedy, the source of historical legitimacy, the origin of tragedy, and the romantic point of reconciliation. Although marriage is ubiquitous in all of Shakespeare's works, critics observe that it is undoubtedly the central concern of at least two plays. In The Taming of the Shrew Petruchio's forceful wooing of the stubborn and shrewish Katherine (Kate) suggests that marriage may be a cruel form of punishment, although Shakespeare moderated this position for comic effect by the play's conclusion. Another ostensibly comedic play with troubling overtones, Measure for Measure depicts marriage as a contract entered not for love or romance, but as the only satisfactory solution to the vexing problem of human sexuality. The comedies and romances tend to portray matrimony as a desired end, while the tragedies and bleaker histories dramatize marriage as the cause of suffering and strife. A select survey suggests the broad range of Shakespeare's depictions of marriage: an ephemeral solution (Romeo and Juliet), an illicit or incestuous pairing (Hamlet), a source of jealousy and anxiety (Othello), an elusive prize (Love's Labour's Lost), a symbol of renewal and reconciliation (The Tempest), or quite simply a happy ending (All's Well That Ends Well). Ann Jennalie Cook (1981) illuminates differences between Shakespeare's dramatic representations of marriage and the social customs of Elizabethan and Jacobean England. Cook claims that far from depicting cultural norms, Shakespeare's dramas generally reflect certain extraordinary situations in regard to courtship and marriage, extreme circumstances he may have employed to highlight elements of corruption, injustice, or absurdity associated with the institution of marriage. Margaret Loftus Ranald (1979) summarizes Shakespeare's use of English matrimonial law as a thematic and plotting device in Shakespearean drama. She contends that “marriage is the one human relationship portrayed in almost every play and almost every poem. … If we are to understand Shakespeare's plays fully, we must recover as much as possible of his views of marriage.”
Theatergoing audiences generally recognize the celebration of one or more happy marriages as a fundamental requisite to a satisfactory conclusion in Shakespearean comedy. Many contemporary scholars, however, dismiss the notion that Shakespeare's comedies can or should be understood as endorsements of marriage. Coppélia Kahn (1975) considers The Taming of the Shrew to be Shakespeare's quintessential comic dramatization of matrimony. Taking a feminist approach to the work, Khan argues that Shakespeare's comedy satirizes the concept of male dominance as a pillar of matrimonial stability and harmony by exploring Katherine's subversion of chauvinist attitudes regarding marriage. Carol Thomas Neely (1985) suggests that Shakespeare's comic nuptials demonstrate varied patterns of disruption, postponement, or dislocation brought about by feminine resistance (The Taming of the Shrew), female fear of submission (Measure for Measure, All's Well That Ends Well, Much Ado about Nothing), a male perception of marriage as a threat to masculine friendship (The Merchant of Venice, Love's Labour's Lost), or in some cases a combination of these factors. Janet Adelman (1989) focuses on so-called bed-tricks (clandestine exchanges of sexual partners) in All's Well That Ends Well and Measure for Measure as problematic attempts to legitimize illicit sexuality prior to marriage. Also concerned with matrimony in Measure for Measure, Michael D. Friedman's (1995) study suggests that contemporary attitudes toward wedded union and romantic love have skewed the meaning of the marriage proposals in the drama....
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