Linda Bamber distinguishes between Shakespeare's treatment of women in comedy and tragedy. In the tragedy his women are strong because they are consistent – ​​'certainly none of the women in the tragedies care or change their minds about who they are' – and the attacks that are directed against them are the product of male resentment at this strength – 'misogyny and sexual nausea arise from failure and self-doubt. The comic feminine, on the other hand, is not opposed to men but to a reified "society": "In comedy the feminine rebels against the restrictive social order or (more commonly) presides in alliance with forces that challenge its hegemony: romantic love, physical nature, love of pleasure in all its forms' difficulty of truly being as extraordinary as they feel they are.' These moral characteristics attributed to men and women do not take into account their particular circumstances within the texts, nor their material circumstances and the differential power relations they sustain approved, are seen as embracing feminine principles, while women are denied access to male and are denigrated when they aspire to masculine qualities. Shakespeare divides experience into masculine (bad) and feminine (good) principles and that his comedies and tragedies be interpreted as “a synthesis of principles or an examination of the kinds of worlds that result when one or another principle is abused.” , neglected, devalued or exiled'. Shakespeare's plays invite the audience to make a connection between the events of the action and the form...... middle of paper ......of the primal sin of lust, combining concerns about the threat to the family posed by 'female insubordination. Yet the text also dramatizes the material conditions behind assertions of power within the family, even as it expresses deep anxieties about the chaos that can result when that balance of power is altered. Works Cited Linda Bamber, Comic Women, Tragic Men: A Study of Gender and Gender in Shakespeare (Stanford, CA: Stanford University Press)Laura Mulvey, 'Visual Pleasure and Narrative Cinema', Screen 16, no. 3, page. 13. Jonathan Culler, Theory and Criticism after Structuralism (Ithaca, NY: Cornell University Press, 1982), pp. 43-63. Raymond Williams, Modern Tragedy (London: Chatto, 1966), p. 45.The True Chronicle of the Story of King Leir, ed. Geoffrey Bullough, Shakespeare's Narrative and Dramatic Sources, vol VII (London: Routledge, 1973)