| Acknowledgements | 第1-6页 |
| Abstract | 第6-9页 |
| 摘要 | 第9-11页 |
| Introduction | 第11-13页 |
| Part Ⅰ. Female Characters in Classical Comedy and Elizabethan Comedy | 第13-19页 |
| i. The second-rate position of women in the four periods of Greek and Roman Comedy | 第13-17页 |
| ii.The promoted situation of women in Elizabethan comedy | 第17-19页 |
| Part Ⅱ. The Dominant Status of Women in Shakespeare's Comedies | 第19-26页 |
| i. Reasons of the exaltation of women in his comedies | 第19-21页 |
| ii.The theme of love and matrimony in comedies | 第21-23页 |
| iii. Shakespeare's favor of revolting daughters in the plot of marriage | 第23-26页 |
| Part Ⅲ. Detailed Analysis of Two Distinctive Women in Shakespeare's Comedies | 第26-37页 |
| i. Adriana—jealous or not? | 第26-29页 |
| ii. Portia—the "protector" in The Merchant of Venice | 第29-37页 |
| Part Ⅳ. The Restriction of Social Custom to Women in Shakespeare's Comedies | 第37-40页 |
| i. Religious and social prejudice of women in Elizabethan age | 第37-38页 |
| ii. Contradictions between Shakespeare's heroines and social convention | 第38-40页 |
| Part Ⅴ. Detailed Analysis of the Regress of Women in Three of Shakespeare's Comedies | 第40-53页 |
| i. The cohesive group of the prince of France in Love's Labor's Lost | 第40-41页 |
| ii.The sudden regress of faithful Sylvia and Julia in Two Gentlemen oj Verona | 第41-45页 |
| iii.The promotional function of the disguise of Rosalind—the voice of order in As You Like It | 第45-53页 |
| Conclusion | 第53-55页 |
| Notes | 第55-57页 |
| Bibliography | 第57-60页 |
| Appendix | 第60页 |
