The father-daughter relationship was one that Shakespeare explored again and again. His typical pattern featured a middle-aged or older man, usually a widower, with an adolescent daughter who had spent most of her life under her father's control, protected in his house. The plays usually begin when the daughter is on the verge of womanhood and eager to assert her own identity and make her own decisions, especially in matters of the heart, even if it means going against her father's wishes. This work considers Capulet in Romeo and Juliet as an inept father to Juliet and Prospero in The Tempest as an able mentor to Miranda; Hermia in A Midsummer Night's Dream, Jessica in The Merchant of Venice and Desdemona in Othello as daughters who rebel against their fathers; Hero in Much Ado About Nothing, Lavinia in Titus Andronicus and Ophelia in Hamlet as daughters who acquiesce; Bianca in The Taming of the Shrew and Goneril and Regan in King Lear as daughters who cunningly play the good girl role; Portia in The Merchant of Venice, Viola in Twelfth Night and Rosalind in As You Like It as daughters who act in their fathers' places; and Marina in Pericles, Perdita in The Winter's Tale and Cordelia in Lear as daughters who forgive and heal.

THE STORY: THE HERBAL BED is based on actual events that occurred in Stratford-upon-Avon in the summer of 1613, when William Shakespeare's elder daughter Susanna Hall was publicly accused of having a sexual liaison with Rafe Smith, a married neighb

A theme that obsessed Shakespeare in over 20 plays from Titus Andronicus to The Tempest was the relationship between a daughter and her father. This study traces chronologically the development of this theme, relating it to the little we know of his own two daughters, and sheds new light on his exploration of the family that so dominated his approach to drama. Drawing on a lifetime's experience of playing Shakespearean roles, Oliver Ford Davies, a former university lecturer and now an Honorary Associate Artist of the RSC and Olivier Award winner, has written an engaging and deeply researched study of a topic that has intrigued him from playing Capulet in 1967, King Lear in 2002, to Polonius in 2008.

Shakespeare was clearly fascinated by the relationship between fathers and daughters, for this primal bond of domination and defiance structures twenty-one of his comedies, tragedies, and romances. In a conflict that is at once social and interpersonal, Shakespeare's fathers demand hierarchical obedience while their daughters affirm the new, more personal values upheld by Renaissance humanists and Puritans. In her penetrating analysis of this compelling relationship, Diane Dreher examines the underlying psychological tensions as well as the changing concepts of marriage and the family during Shakespeare's time. She points to the pain and conflict caused by sex role polarization. Shakespeare's possessive fathers tyrannize over their daughters, unwilling to relinquish their "masculine" power and control and leaving these young women with only two alternatives: paternal domination or defiance and loss of love. The logic of Shakespeare's plays repudiates traditional stereotypes, showing how women like Ophelia and Desdemona are destroyed by conforming to the passive Renaissance ideal. The book concludes with a consideration of Shakespeare's androgynous characters—dynamic women in doublet and hose, and fathers who become sensitive, caring, and empathetic. Shakespeare's balanced characters thus reconcile the polarities within themselves and bring greater harmony to their world. Domination and Defiance is the first book on this most provocative relationship in Shakespeare. Shedding new light on the complex father-daughter bond, character, and motivation, it makes a major contribution to literary studies.

Shakespeare was clearly fascinated by the relationship between fathers and daughters, for this primal bond of domination and defiance structures twenty-one of his comedies, tragedies, and romances. In a conflict that is at once social and interpersonal, Shakespeare's fathers demand hierarchical obedience while their daughters affirm the new, more personal values upheld by Renaissance humanists and Puritans. In her penetrating analysis of this compelling relationship, Diane Dreher examines the underlying psychological tensions as well as the changing concepts of marriage and the family during Shakespeare's time. She points to the pain and conflict caused by sex role polarization. Shakespeare's possessive fathers tyrannize over their daughters, unwilling to relinquish their "masculine" power and control and leaving these young women with only two alternatives: paternal domination or defiance and loss of love. The logic of Shakespeare's plays repudiates traditional stereotypes, showing how women like Ophelia and Desdemona are destroyed by conforming to the passive Renaissance ideal. The book concludes with a consideration of Shakespeare's androgynous characters -- dynamic women in doublet and hose, and fathers who become sensitive, caring, and empathetic. Shakespeare's balanced characters thus reconcile the polarities within themselves and bring greater harmony to their world. Domination and Defiance is the first book on this most provocative relationship in Shakespeare. Shedding new light on the complex father-daughter bond, character, and motivation, it makes a major contribution to literary studies.

Susanna Shakespeare yearns to travel to London like her father, to experience the world of actors and poets and to follow her own dream of singing, a path usually followed only by men.

Shakespeare in Children's Literature looks at the genre of Shakespeare-for-children, considering both adaptations of his plays and children's novels in which he appears as a character. Drawing on feminist theory and sociology, Hateley demonstrates how Shakespeare for children utilizes the ongoing cultural capital of "Shakespeare," and the pedagogical aspects of children's literature, to perpetuate anachronistic forms of identity and authority.