Louis Dupre writes, “Shakespeare’s comedies, the accomplished masterpieces of this playful oscillation [between appearance and reality], leave the viewer utterly confused about what must count as real and what as illusion. The theatre here parodies a real-life fear of deception concerning the true nature of the outside world. The constantly shifting appearances of that world irresistibly drives the reflective mind inwardly.”
Well, maybe. But then every Wodehouse story originates from the same device of mistaken identity, and he hardly betrays any anxiety about the true nature of the outside world. Maybe Shakespeare put mistaken identities into his comedies because he thought they were funny.
Peter Leithart
Peter J. Leithart is President of Theopolis Institute. He is the author of numerous books on theology, literature, and culture, including Theopolitan, Defending Constantine, and Baptized Body.
More from Literature
Continue reading related articles
God's Plenty
A few thoughts on the “General Prologue” to Chaucer’s Canterbury Tales . 1) The Prologue sets the stage for a multi-layered set of tales. The real-life Chaucer is, of course, the author, but in the Prologue, he introduces a fictional version of himself as narrator: It happened in that season…
Violence as Poetry
Paul and Jane Sinclair, protagonists of J.G. Ballard’s 2000 novel Super-Cannes , move from England to the French Riviera to live at a new high-tech business park, Eden-Olympia (!), after Jane’s friend and former lover, Dr. David Greenwood, goes on a killing spree that ends with suicide. Jane, a pediatrician,…
Memento Mori
Virtually all the characters in Muriel Spark’s 1959 novel, Memento Mori , are over 70. They suffer the physical humiliations of aging and the pains of regret. Unexpectedly, hilariously, they’re as competitive and petty as schoolchildren. Well into his 80s, Godfrey Colston scorns the crippled critic Guy Leets for the…
In Medias Res
Your weekly digest for all things Theopolis.