此論文檢視莎士比亞《冬天的故事》中里昂提斯的妒忌，辯證其顯示出了英國文藝復興時期，陽剛身分建構本身的問題性。在誘勸波西米亞國王延長拜訪的結果中，里昂提斯敗給了他的妻子赫美溫妮，他雄辯技巧上的弱勢也讓他的男性尊嚴受損；而赫美溫妮當初對於里昂提斯求婚的延遲回覆，以及本劇中的語言的模糊性引發了他的猜忌，進而帶來了陽剛身分的崩解。除了辯才外，此論文也探討私通的焦慮，其為英國近代早期陽剛身分建構下所暗藏的隱憂。這樣的焦慮引發他不理性的行為以及對妻子貞潔的誤判。為了重建他的聲望，里昂提斯擅用審判來保留駕馭妻子的絕對權力，並恢復他受損的名聲。儘管本劇稍後轉向以年輕一代為主軸，似乎象徵著新的轉變，然而在赫美溫妮復甦後，里昂提斯機智卻又令人感到不安的沉默，反映出他始終無法接受私通焦慮所帶來的汙名。此論文以辯才與私通來檢視莎士比亞《冬天的故事》中的陽剛特質，並以歷史與文化的文獻來佐證。期許能夠闡明英國文藝復興時期所困擾男性的陽剛焦慮，並且辯證主角里昂提斯的妒忌並不是無從解釋的情緒爆發，而是文藝復興陽剛身分建構下不可避免的集體產物。 / This thesis argues that Leontes’ jealousy manifests the problematic construction of masculine identity in Renaissance England. Leontes’ rhetorical inferiority to Hermione in the persuasion work resulted in his injured masculinity, which is exacerbated by the ambiguity of language in the play and Leontes’ sour memories of Hermione’s late acceptance to his marriage proposal, all of which sparkle Leontes’ jealousy and stimulate the collapse of his masculinity. Aside from rhetorics, this thesis also examines the anxiety of cuckoldry, a pre-existent, latent apprehension inherent in the construction of masculinity in early modern England. This anxiety leads to his unreasonable behavior and misjudgment. In order to rebuild his reputation, Leontes appropriates the public trial to retain absolute dominance over his wife and restore his stained honor. While the shift of the play’s focus to the younger generation signals a revision, Leontes’ tactful yet disturbing silence after Hermione’s resurrection reflects his resurfaced masculinity in the context of marriage and his inability to come to terms with the stigma of cuckoldry anxiety. Leontes’ jealousy is triggered by his lack of rhetorical skills essential to male confidence, a lack which is brutally magnified by his wife’s impeccable eloquence; his following accusation of Hermione’s adultery is precipitated and irrevocably executed by his fear of rumor and cuckoldry prevalent in his time. This thesis aims to shed light on the issue of Renaissance masculine anxiety and prove that Leontes’ jealousy is not just an unexplainable outburst of emotion, but rather an inevitably collective product of the construction of Renaissance masculine identity.