Katherine of Aragon - Tragic Heroine of Henry VIII
Among the bevy of female characters to grace the Shakespearean stage, Katherine of Aragon in Henry VIII is perhaps the most enigmatic. Despite the range of possibilities in other female roles-such as Cordelia and Desdemona, in whom one certainly finds desirable traits-Katherine stands out as a tragic heroine: a secure, strong-willed woman who is articulate, passionate, charismatic, and altruistic. The unique qualities of Katherine are achieved through Shakespeare's careful accretion of rhetorical devices in her speeches. Interestingly, however, the paucity of critical attention given to Katherine's language suggests that many scholars have relegated this great lady to secondary importance in the grand scheme of the play.
With Act II, Scene 4-the hall at Blackfriars-- Shakespeare provides the most complete rendering of Katherine as a dynamic character. Specifically, what should be noted here are what may be called "semantic signals" -that is, those expressions of humility Katherine employs which lead to her impassioned arguments. Still, there are some lines in Katherine's court speech which, if considered alone, pose problems in viewing her as the protagonist of the play. Thus, in an attempt to point to the importance of this scene, it is necessary to explore the scenes immediately before and after II.4 which involve Katherine. What will result, one hopes, is evidence of how Shakespeare's recurrent use of rhetorical paradox makes Katherine such an important dramatic figure.
Maria Dowling has written of Katherine's educational background and her contributions to women's learning opportunities, quoting a statement made by Erasmus: "The queen is astonishingly...
... middle of paper ...
...on in King Henry VIII.
Works Cited
Dowling, Maria. "A Woman's Place? Learning and the Wives of Henry VIII." History Today (June 1991): 38-42.
Elze, Karl. Essays on Shakespeare (1874) trans. By L. Dora Schmitz. London: Kennikat Press, 1970.
Hutchinson, F.E. Cranmer and the English Reformation. London: English Universities Press, 1965.
Kamps, Ivo. "Possible Pasts: Historiography and Legitimation in Henry VIII." College English 58: 2 (February 1996): 192-216.
Magnusson, A. Lynne. "The Rhetoric of Politeness and Henry VIII." Shakespeare Quarterly 43: 4 (Winter 1992): 391-409.
Scarisbrick, J.J. Henry VIII. Los Angeles, CA: U of California P, 1969.
Shakespeare, William. King Henry VIII. Ed. John Margeson. Cambridge: Cambridge UP, 1990.
The Standard Dictionary of Facts. Ed. Henry W. Ruoff. Buffalo, NY: The Frontier Press, 1913.
Clark, W.G., and W. Aldis Wirhgt, eds. The Complete Works of William Shakespeare. Vol 2. USA: Nd. 2 vols.
The marriage between King Henry and Katherine is nothing more than just a medieval political union that brought succession and power in Europe. It seems that Shakespeare played with the interpretation of what’s personal and political involving a person’s union or marriage as the case may be. It can be seen as the personal evolves the political, and then the political evolves the personal. Shakespeare successfully acknowledge the portrayal of marriage in a meaningful characterizations. Both King Henry and Katherine has their own separate point-of-views from two different cultures and way of living, towards conflicts such as power struggles they had in that particular era.
Pitt, Angela. “Women in Shakespeare’s Tragedies.” Readings on The Tragedies. Ed. Clarice Swisher. San Diego: Greenhaven Press, 1996. Reprint from Shakespeare’s Women. N.p.: n.p., 1981.
Pitt, Angela. “Women in Shakespeare’s Tragedies.” Readings on The Tragedies. Ed. Clarice Swisher. San Diego: Greenhaven Press, 1996. Reprint from Shakespeare’s Women. N.p.: n.p., 1981.
Neely, Carol Thomas. “Shakespeare’s Women: Historical Facts and Dramatic Representations.” Shakespeare’s Personality. Ed. Norman N. Holland, Sidney Homan, and Bernard J. Paris. Berkeley: University of California Press, 1989. 116-134.
Pitt, Angela. "Women in Shakespeare's Tragedies." Readings on The Tragedies. Ed. Clarice Swisher. San Diego: Greenhaven Press, 1996. Reprint from Shakespeare's Women. N.p.: n.p., 1981.
from the Hebrew word "to go" and has come to mean the "way" or "path."
Pitt, Angela. “Women in Shakespeare’s Tragedies.” Readings on The Tragedies. Ed. Clarice Swisher. San Diego: Greenhaven Press, 1996. Reprint from Shakespeare’s Women. N.p.: n.p., 1981.
Pitt, Angela. "Women in Shakespeare's Tragedies." Readings on The Tragedies. Ed. Clarice Swisher. San Diego: Greenhaven Press, 1996. Reprint of Shakespeare's Women. N.p.: n.p., 1981.
Dutton, R., & Howard, J.E. (2003). A Companion to Shakespeare’s Works.(p. 9) Maiden, MA: Blackwell Pub.
Pitt, Angela. “Women in Shakespeare’s Tragedies.” Readings on The Tragedies. Ed. Clarice Swisher. San Diego: Greenhaven Press, 1996. Reprint from Shakespeare’s Women. N.p.: n.p., 1981.
Cohen, Walter, J.E. Howard, K. Eisaman Maus. The Norton Shakespeare. Vol. 2 Stephen Greenblatt, General Editor. New York, London. 2008. ISBN 978-0-393-92991-1
Clark, W. G. and Wright, W. Aldis , ed. The Complete Works of William Shakespeare. Vol. 1. New York: Nelson-Doubleday
Shakespeare, William. The Norton Shakespeare. Edited Stephen Greenblatt et al. New York: W. W. Norton & Company, 1997.
Throughout the historical literary periods, many writers underrepresented and undervalued the role of women in society, even more, they did not choose to yield the benefits of the numerous uses of the female character concerning the roles which women could accomplish as plot devices and literary tools. William Shakespeare was one playwright who found several uses for female characters in his works. Despite the fact that in Shakespeare's history play, Richard II, he did not use women in order to implement the facts regarding the historical events. Instead, he focused the use of women roles by making it clear that female characters significantly enriched the literary and theatrical facets of his work. Furthermore in Shakespeare’s history play, King Richard II, many critics have debated the role that women play, especially the queen. One of the arguments is that Shakespeare uses the queen’s role as every women’s role to show domestic life and emotion. Jo McMurtry explains the role of all women in his book, Understanding Shakespeare’s England A Companion for the American Reader, he states, “Women were seen, legally and socially, as wives. Marriage was a permanent state” (5). McMurtry argues that every woman’s role in the Elizabethan society is understood to be a legal permanent state that is socially correct as wives and mothers. Other critics believe that the role of the queen was to soften King Richard II’s personality for the nobles and commoners opinion of him. Shakespeare gives the queen only a few speaking scenes with limited lines in Acts two, four, and five through-out the play. Also, she is mentioned only a few times by several other of the characters of the play and is in multiple scenes wit...