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‘Eve clearly embraced the Protestant work ethic’
John rogers
‘Adam represents in this dialogue the nervous voice of the poem’s orthodoxy, and Eve represents the questioning voice’
John Rogers
‘Milton wants us to know that this new form of knowledge, this new self-consciousness, isn’t an enlightenment: it’s a darkening’
John Rogers
‘sexual intercourse in marriage was seen as being nothing more than a necessary evil’
Megan Caines
‘Estranged from the world in which she exists’
SJ
‘Women in a society as patriarchal as this cannot sometimes help being complicit in their own oppression’
SJ
‘In matters of practical living the woman is judged by man’s law, as if she were not a woman but a man’
Ibsen
‘Rank’s illness… is a symbol of the deteriorating backbone of society’
D Coday
‘Killing the angel in the house was part of the occupation of a woman writer…it was her or me’
Virginia Woolf!
‘Man must be pleased; but him to please is woman’s pleasure’
Patmore
‘Nora’s marriage becomes eight years prostitution’
Bradbrook
‘Christine Linde acts as a catalyst for Nora’s rebellion’
Sally Ledger
‘Transformative power of love’
Emma Smith
‘Refusal to leave the love of brother behind and embrace the sexual love that moves us from dependence on family towards independence’
Tonkin
‘Homoerotic pleasure is explored and sustained until it collapses into fear of erotic exclusivity’
Traub
‘The inconstancy of men and the solidity and truth of women’
Greer
‘the whole of Twelfth Night debates the very nature and morality of comedy’
Dobson
‘Twelfth Night depicts one’s gender as essentially a performed role’
Thomas
‘Comedy is not designed to condemn evil, but to ridicule a lack of self-knowledge’
Frye
‘the world turned upside down… and the more grotesque the surprise, the more merrier the festival’
Montegut
‘Feste is able to penetrate the masks of others, and he succeeds in retaining his own’
Summers
‘Orsino’s narcissistic withdrawal into the Petrarchan conventions and the beds of flowers’
Kreiger
‘Malvolio’s story: the progress toward self-recognition of a man who is partly self-deceived’
Crane
‘both Orsino and Olivia are fundamentally immature in their behaviour’
Tonkin
‘his self-centred and self-punishing love for Olivia’
Tonkin
‘Characters are caught in themselves’
Tonkin
‘Viola and Feste see with wider vision’
Tonkin
‘Malvolio is the poor player who seeks to assume roles and cannot’
Tonkin
‘The errors are mostly self-generated’
Tonkin
‘Shakespeare’s male characters (…) will break vows and transfer affections’
Greer
‘Rigid to the ideology of binarism’
Traub
‘offering a glimpse not just of comic sexual self-delusion but of a potentially subversive upward mobility’
Dobson
‘The repressed Malvolio is perfectly sane by Illyrian standards, but the plot makes him perform his “madness”’
Kamps
‘Twelfth Night is the darkest and most haunting of Shakespeare’s great comedies, its humour constantly shadowed by cruelty and a keen awareness of mortality’
Spencer
‘All three Malvolio baiters seek to allay their anxieties about the pervasiveness of social mobility’
Gibson
‘shows the comedy of love which occurs when people turn themselves inside out and almost reach the edge of madness’
Judge
‘the excessive behaviour that is moral when enacted by Orsino, Olivia, and Sir Toby is ‘perverted’ when enacted by Malvolio’
Krieger
‘Viola seems to be (…) transcending explicit lines of defined roles in society’
Goldberg
‘The Fool lives in a state of perpetual stasis’
Crouch
‘the sadness and melancholy that bleed through Feste’s jests give him a realness that is difficult to deny’
Crouch
‘trapped in a life that never changes, [Feste’s] words might begin to be touched by melancholy and hints of bitterness, dark undertones that result from the loneliness of a perpetual existence in such a confined cage’
Crouch
‘all characters in TN are masqueraders (…) only Feste the jester keeps his mask from slipping’
Greif
‘Changes in clothing or appearance (…) always highlight a personal or emotional change in identity’
Duncan
‘Malvolio’s humiliation is the only humanly designed action that fulfils itself as planned’
Hartwig
‘Feste’s constantly pointing out the ubiquity of foolishness’
Duncan
[using their father’s death to reconcile] ‘death remains at the heart of their final reconciliation’
Duncan
‘objective exploitation of Malvolio’s self-love, and Malvolio becomes an appropriately comic butt’
Hartwig
‘Orsino sees Olivia as the antidote to illness, Olivia sees love as an illness itself’
Duncan
‘it is the first time Viola as Cesario has been faced down by an intelligent opponent, (…) so far having been opposed only by those blinded by love, pomposity, stupidity, or alcohol’
Duncan
‘Malvolio hides his truer “appetites” beneath a constructed outer persona, a “shell” of sobriety, moderation, and propriety’
Hobgood
‘Loving the Cesario aspect of the Diana-like Viola represents Orsino’s fixation upon himself’
Hunt
‘sexual intercourse in marriage was seen as being nothing more than a necessary evil’
Caines
‘enormous pain and eternal loss [Satan]’
Gardner
‘He was the hero because he was successful’
Steadman
‘In comparing the smell of the forbidden fruit to mother’s milk, Satan is offering Eve an embedded image of the mother’
Rogers
‘Is Satan, in fact, hero or fool’
Steadman
‘He achieves mastery rather than true glory’
Steadman
‘Satan does not degenerate: he is degraded’
Walkdock
‘Eating the apple is more heroic than the story of Achilles wrath’
Edwards
‘There are other consequences of this miltonic definition of heroism. It values the passage of time’
Edwards
‘One of Satan’s achievements is to devalue experience, to make Eve think that experience is quick and simple to grasp’
Edwards
‘[Satan] will never repent or change, and he takes that as a mark of his heroism. In fact, its a half truth. You can change without repenting, but you can’t repent without changing’
Edwards
‘Adam and Eve repent. It’s the first step toward learning how to live in a fallen world, and it is the first of their heroic activities’
Edwards
‘This language, conventional love rhetoric though it may be, suggests a surrendering on Eve’s part, a giving up of herself to Adam’s forceful seizure of his narcissism’
Zimmerman
‘Milton is accurately reflecting the ambiguity of his own day in this poem’
Edwards
‘The ingestion of the fruit, therefore, will give Eve the clarity of vision she needs to manage a disintegrated, irrational world that is no longer fused in magical union with Adam or nature’
Edwards
‘Note the absence of mutuality: Adam is not Eve’s image. Robbed of a personal voice, Eve is coerced into becoming an echo for Adam’
Zimmerman
‘the emphasis on Satan reveals that their union has become contingent on external threats rather than internal desire’
Zimmerman
Eve is ‘pompously enamoured with her new found independence’
Zimmerman
‘The coiling, circling body of the serpent, it turns out, perfectly expresses the mind of Satan. His mind is a kind of maze’
Edwards
‘Animate materialism. (…) Milton was not a dualist. He didn’t believe in a complete separation of body and spirit… a very different philosophy from Satan’s dualistic philosophy. Satan thinks he can pretend to be one thing while being something else’'
Edwards
‘Nora, a woman of nerves and bones consigned to the life of an object with its smile painted on’
Schwartz
‘he took her life for his play’ (Laura Kieler)
Schwartz
‘Nora was clicking the door shut on a century of women whose only verb had been to marry’
Schwartz
‘Centuries of men filling the stages with themselves’ - link to Torvald’s isolation after Nora leaves, he has filled the stage w himself but at what cost?
Schwartz
‘clicking the latch of the doors behind her with a sound like a century snapping shut’
Schwartz
[German ending] ‘barbarous outrage’
Ibsen
‘egotistical’ ‘conceited prig’
Scott
‘Limits that their gender confines them to’
SJ
‘Exerting a radiant moral influence’ [angel in the house]
‘she radiates exactly the colours that most enhance his life’
Meyer
‘a husband who has such an essentially false idea of happiness between man and woman that it has practically undermined this delightful home’
Lord
‘Rank symbolises the degeneration of the family’
Ledger
[convention] ‘caged her withing a child’s toy structure’
Millet
[Ibsen makes] ‘Helmer grotesque, and reduces the tragic quality of the ending’
Gray
‘The most hypocritical form of woman-purchase [marriage]’
Caird
‘Never for a moment was the dagger of tragedy raised’
Bogh
‘Her flirtation with Rank…is another indication of the more spirited woman beneath the convention-respecting surface’
Gray
‘Torvald…is as much a victim as Nora’
Thomas
‘pompous, self-centered and arrogant’
Thomas
‘Puppet-hero’ - what Nora shapes Torvald into, makes him a victim? ‘almost as much Nora’s ‘doll’ (…) as she has been his’
Ganz
'[Nora] imprisoned within the conditioned assumptions of his middle-class world’
Thomas
[the tarantella is] ‘a graphic representation of a woman’s struggle to make her existence heard, to make it count’
Toril Moi
‘Female consumption is coded socially as an unnecessary luxury’
Stenport
‘Nora can be seductive and Rank seduced, but only so long as neither admits that this is what it really happening’
Tufts
‘Charming, maddening, enchanting young wife’
Wendy Swallow
[her and Rank ‘she cannot give (…) the sympathetic compassion of a mature woman, only the petulance of a priggish child’
Lucas
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