Works Cited Black, James. "The Unfolding of Measure for Measure." Shakespeare Survey 26 (1973): 119-28. Knight, G. Wilson. Shakespeare and Morality.
Boston: Houghton Mifflin, 1997. 138-141. Daniel, David. "Shakespeare and the Traditions of Comedy." The Cambridge Companion to Shakespeare Studies.
Princeton: Princeton University Press, 1972. Bonazza, Blaze O. Shakespeare's Early Comedies: A Structural Analysis*. The Hague: Mouton, 1966. Briggs, Katharine M. The Anatomy of Puck. London: Routledge & Kegan Paul, 1959.
Bibliography: Bibliography Burgee, Anthony. Shakespeare. New York: Alfred A. Knopf, 1970 Cahn, Victor L. Shakespeare the playwright: A Companion to the Complete Tragedies, Histories, Comedies, and Romances. New York: Greenwood Press, 1991. Evans, Gareth, and Barbara Lloyd Evans.
April 20th –30th, 1999 Jones, Eldred. "Othello- An Interpretation" Critical Essays on Shakespeare’s Othello. Ed. Anthony G. Barthelemy Pub. Macmillan New York, NY 1994.
Righter, Anne. Shakespeare and the Idea of the Play. Westport, CT: Greenwood Press, 1962. Spotswood, Jerald W. "Maintaining Hierarchy in The Tragedie of King Lear." Studies in English Literature 38 (1998): 265-80.
But again, as in Satan's case, to no avail. (187) Blanche Coles states in Shakespeare's Four Giants the evil intentions of Lady Macbeth: Lady Macbeth is at the same time greater and lesser than her husband. She has a hardness which he lacks, but she has none of his subtlety and perception. She knows her husband well and despises him a little, but to satisfy her ambition, which is a crude desire to see her man King, she will devote herself soul and body to evil. (62) Lily B. Campbell in her volume of criticism, Shakespeare's Tragic Heroes: Slaves of Passion, explains the very evil intentions of the weird sisters: If we accept Scene v of Act III as canonical, we must accept it as a prologue to Act IV, and if we accept it, much of the mystery of the witches is gone.
However, the characters seem to have a love-hate relationship with Cupid. Within the first line of the play, it is glorified: "If music be the food of love, play on..." (Duke Orsino, I:I). And while Olivia is annoyed with Orsino's affection, she craves Curio's. However, Shakespeare also picks on love. Not only did Malvolio's confusion about his and Olivia's relationship prove to add to the comedy, but it rather showed how one can play with love, and use it for another's harm.