Comedy of disguise and mistaken identity
in Shakespeare’s cinema of love
Abstract only
Log-in for full text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Institutions can purchase access to individual titles; please contact for pricing options.


If you have an access token for this content, you can redeem this via the link below:

Redeem token

Conscious disguise and mistaken identity run through most of Shakespeare’s comedies as a theme, and they are central defining aspects of his romantic comedy. Underlying the pattern is a version of love which sees through superficialities to an inner compatibility between characters. It also raises questions of role-playing and its significance in love relationships. All these elements, in some shape or another, also occur regularly in Hollywood romantic comedy, and the disguises may involve not so much gender as in Shakespeare, but social and professional status. The rich impersonate poverty to test love, the poor play roles of higher social status to attract love, but the basic metaphor is as in Shakespeare’s disguised women in As You Like It and Twelfth Night.

Shakespeare’s cinema of love

A study in genre and influence


All Time Past Year Past 30 Days
Abstract Views 265 99 18
Full Text Views 47 0 0
PDF Downloads 15 2 0