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By Kenneth J. E. Graham, Philip D. Collington

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32 The conflict between abbess and wife, Catholic and Protestant sanctity, holy place and holy (secular) ‘office,’ disappears when the abbess turns out not only to have been a wife but to be ready, without a moment’s hesitation, to resume that role. She is happy to ‘gain a husband’ by Egeon’s freedom (340). 8) – Egeon is ‘redeemed’ not by money but through being reintegrated into his marriage. 33 The ‘errors’ are cleared up without the need for supernatural intervention, and the family units are reassembled.

87–91). Most interestingly of all, Adriana protests against the sexual double standard. 10). 16–17]). Adriana’s point, as Sanctifying the Bourgeoisie 25 becomes clear later in this dialogue and in the continuation of it in the scene following, is not that she wants greater ‘liberty’; what she wants is for her husband to have to play by the same rules that she does. She is perfectly happy to accept the ideal of chastity – here, of course, meaning not virginity but marital fidelity – but she rejects the notion that it does not apply equally to married males.

25. 26. 27. Shakespeare and Religious Change Spenser’s poetry and life shows, as does (perhaps) the life and some of the poetry of Donne. Plautus, The Brothers Menaechmus, in The Pot of Gold and Other Plays, trans. F. Watling (London: Penguin, 1965), 115. Like some earlier editors (see Foakes, Comedy, 48 n), I have accepted Theobald’s emendation of ‘wrath’ for the Folio’s ‘mirth’ in this line, since ‘despite of mirth’ makes no sense, despite various editors’ attempts to explain it. Foakes, it should be noted, prints ‘mirth,’ as do all recent editions.

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