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Long seen as a play that celebrates the new-found freedom of its female protagonist, Mandragola may in fact question the very possibility of theatrical "liberation. "Drawing on the foundational myth central to Renaissance thinking about theater, the abduction of the Sabine women, this essay shows how Machiavelli endeavored to make his play a discomfitting experience for characters and audience alike. This conception of comedy as social trap both challenged humanistic notions of the ideal relationship between theater and the city, and accentuated the surveillant norms inherent in humanists'understanding of the role of the stage in society.

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