The Bedtrick

"Somehow I woke up one day and found myself in bed with a stranger." Meant literally or figuratively, this statement describes one of the best-known plots in world mythology and popular storytelling. In a tour that runs from Shakespeare to Hollywood and from Abraham Lincoln to Casanova, the erudite and irrepressible Wendy Doniger shows us the variety, danger, and allure of the "bedtrick," or what it means to wake up with a stranger. The Bedtrick brings together hundreds of stories from all over the world, from the earliest recorded Hindu and Hebrew texts to the latest item in the Weekly World News, to show the hilariously convoluted sexual scrapes that people manage to get themselves into and out of. Here you will find wives who accidentally commit adultery with their own husbands. You will read Lincoln's truly terrible poem about a bedtrick. You will learn that in Hong Kong the film The Crying Game was retitled Oh No! My Girlfriend Has a Penis. And that President Clinton was not the first man to be identified by an idiosyncratic organ. At the bottom of these wonderful stories, ancient myths, and historical anecdotes lie the dynamics of sex and gender, power and identity. Why can't people tell the difference in the dark? Can love always tell the difference between one lover and another? And what kind of truth does sex tell? Funny, sexy, and engaging, The Bedtrick is a masterful work of energetic storytelling and dazzling scholarship. Give it to your spouse and your lover.

This volume investigates the early modern understanding of twinship through new readings of plays, informed by discussions of twins appearing in such literature as anatomy tracts, midwifery manuals, monstrous birth broadsides, and chapbooks. The book contextualizes such dramatic representations of twinship, investigating contemporary discussions about twins in medical and popular literature and how such dialogues resonate with the twin characters appearing on the early modern stage. Garofalo demonstrates that, in this period, twin births were viewed as biologically aberrant and, because of this classification, authors frequently attempt to explain the phenomenon in ways which call into question the moral and constitutional standing of both the parents and the twins themselves. In line with current critical studies on pregnancy and the female body, discussions of twin births reveal a distrust of the mother and the processes surrounding twin conception; however, a corresponding suspicion of twins also emerges, which monstrous birth pamphlets exemplify. This book analyzes the representation of twins in early modern drama in light of this information, moving from tragedies through to comedies. This progression demonstrates how the dramatic potential inherent in the early modern understanding of twinship is capitalized on by playwrights, as negative ideas about twins can be seen transitioning into tragic and tragicomic depictions of twinship. However, by building toward a positive, comic representation of twins, the work additionally suggests an alternate interpretation of twinship in this period, which appreciates and celebrates twins because of their difference. The volume will be of interest to those studying Shakespeare and Renaissance Literature in relation to the History of Emotions, the Body, and the Medical Humanities.

The biblical stories of Lot’s daughters, Tamar, Ruth and Bathsheba, share much in common – singular women who are left to rely upon their own wits to achieve some measure of victory over the men around them. Scholarly interpretation of these women often reduces them to mere stock characters who inform civic notions about Israel, the perennial underdog who, like these women, achieves against great odds. Or, they reflect the trickery and moral ambiguity inherent in their line as ancestresses of the House of David. However, when read for their gender information (and not for what they can tell readers about Israel), one finds women who employ strategies of deception and trickery, motivated by individual self-interest, in order to successfully maneuver within the system to their benefit. Such initiative can be seen as valorous: they save themselves through their own pluck and ingenuity. Thus, a close consideration of these stories finds that heroic biblical women carry their essential weapons upon and within themselves in their drive, their resolve and their cleverness. Using methods from biblical study as well as folklore, this study identifies biblical women motivated by self-interest coupled with deception and an incidence of the “bedtrick,” an instance of sexual trickery that challenges the text’s power and gender dynamics. This identification puts Lot’s daughters, Tamar, Ruth and Bathsheba, in league with female heroes from folk tale and legend. By contrasting and comparing common motifs and actions with traits established by other non-biblical female heroic narratives, strong heroic themes are located in all four narratives. This offers a dynamic argument for identifying the female biblical heroic. This work concludes that this new identification of heroic women in the Bible profoundly affects further interpretation of the Bible.

None of these assumptions has been tested against the evidence of the surviving plays from the period - an oversight that the present study seeks to remedy.

Focusing on European tragicomedy from the early modern period to the theatre of the absurd, Verna Foster here argues for the independence of tragicomedy as a genre that perceives and communicates human experience differently from the various forms of tragedy, comedy, and the drame (serious drama that is neither comic nor tragic). Foster posits that, in the sense of the dramaturgical and emotional fusion of tragic and comic elements to create a distinguishable new genre, tragicomedy has emerged only twice in the history of drama. She argues that tragicomedy first emerged and was controversial in the Renaissance; and that it has in modern times replaced tragedy itself as the most serious and moving of all dramatic genres. In the first section of the book, the author analyzes the name 'tragicomedy' and the genre's problems of identity; then goes on to explore early modern tragicomedies by Shakespeare, Beaumont and Fletcher, and Massinger. A transitional chapter addresses cognate genres. The final section of the book focuses on modern tragicomedies by Ibsen, Chekhov, Synge, O'Casey, Williams, Ionesco, Beckett and Pinter. By exploring dramaturgical similarities between early modern and modern tragicomedies, Foster demonstrates the persistence of tragicomedy's generic markers and provides a more precise conceptual framework for the genre than has so far been available.

In late Elizabethan England, two women take a risky chance on a marriage of convenience, against the backdrop of Shakespeare's theater and the tumultuous politics at the end of the Tudor age.

The plays, theme or focus of this volume includes: Measure For Measure Romeo and Juliet Time