Editing Shakespearean problem play (section)

==Other conceptions==
Author Neil Rhodes argues that the defining characteristic of the Shakespearean problem-play is its controversial plot, and as such, the subgenre of problem-plays has become less distinct as scholars continue to debate the controversies in Shakespeare's straightforward tragedies and comedies. What differentiates plays like ''Measure for Measure'' from Shakespeare's explicitly comedic or tragic plays is that it presents both sides of a contentious issue without making a judgement for the audience.<ref name="Rhodes">{{cite journal|date=July 2000|title=The Controversial Plot: Declamation and the Concept of the "Problem Play"|journal=Modern Humanities Research Association|volume=95|issue=3|pages=609–622|doi=10.2307/3735490|last1=Rhodes|first1=Neil|jstor=3735490}}</ref> Rhodes goes on to claim that this offering of the merits of both sides of the social dispute is a rhetorical device employed but not originated by Shakespeare. Rather, the rhetorical practice of submitting a thesis with a counter-contention that is just as persuasive began in Ancient Greece.<ref name="Rhodes" /> Per Rhodes, Shakespeare's problem-plays must address a social issue that can reasonably be debated, ranging from gender roles to institutional power frameworks.<ref name="Rhodes" />

Another scholarly analysis of Shakespeare's problem-plays by A.G. Harmon argues that what the problem-plays have in common is how each consciously debates the relationship between law and nature. Many of the problem-plays address a disorder in nature, and the characters attempt to mitigate the disorder in varying manners.<ref name="Hart">{{cite journal|last1=Hart|first1=Jonathan|title=Eternal Bonds, True Contracts: Law and Nature in Shakespeare's Problem Plays – Review|journal=Renaissance Quarterly|date=2005|volume=58|issue=3|page=1043|doi=10.1353/ren.2008.0833|s2cid=159516712}}</ref> In four of the plays that Harmon categorizes as problem-plays, ''The Merchant of Venice,'' ''All's Well That Ends Well,'' ''Measure for Measure,'' and ''Troilus and Cressida,'' the social order is restored when faulty contracts are properly amended. Harmon's conception of the problem-plays differs from others in that he argues that the problem-plays offer a resolution to their respective stories. Much like the characters in the plays must fulfill their contracts, he argues, Shakespeare fulfills his contract as a playwright by providing resolution.<ref name="Hart" /> Though Harmon's conception of the problem-plays does not align with the common understanding of Shakespeare's problem-plays, he does provide examples of the social dilemmas that Shakespeare addresses through these plays. The common social problem, per Harmon, is the tension between laws establishing order and the natural tendencies of humans. The problem-plays follow a formula: the established laws of society are challenged, chaos reigns over society, chaos is vanquished by the institution of a new order.<ref name="Hart" />

From the perspective of scholar Ernest Schanzer, a Shakespearean problem-play is first defined independently of the idea of a Shakespearean play and only by what the phrase ''problem play'' itself necessitates.<ref name=":0">{{Cite book|url=https://books.google.com/books?id=ajj-AQAAQBAJ&q=shakespearean+problem+plays&pg=PP1|title=The Problem Plays of Shakespeare: A Study of Julius Caesar, Measure for Measure, Antony and Cleopatra|last=Schanzer|first=Ernest|date=2013|publisher=[[Routledge]]|isbn=978-1136564895|language=en}}</ref> Schanzer chooses to consider only ethical dilemmas in the definition of ''problem,'' excluding psychological, political, social, and metaphysical problems that may develop.<ref name=":0" /> He concludes that problem plays are classified by a pivotal ethical dilemma that instigates multiple opposing but equally plausible opinions from the audience.<ref name=":0" /> Using this theory, Schanzer distinguishes only ''Measure for Measure'' as a Shakespearean problem comedy, identifying both ''All's Well That Ends Well'' and ''Troilus and Cressida'' as lacking of a pivotal ethical dilemma that divides the audience.<ref name=":0" />  Schanzer offers ''Julius Caesar'' and ''Antony and Cleopatra'' in the place of previously recognized problem plays.<ref name=":0" />