She in act one is seemingly attentive and polite playing the part of a good Elizabethan women, she wants the good things in life however may later on we see she may not be so keen to give back to her husband. “the more fool you for laying on my duty…” she offends Lucentio calling him stupid for betting on her, she may seem tamed but she is hiding a shrewish interior. Petruchio has seemingly tamed Kate, winning her over and turning her into a perfect wife. Kate throughout the play does not get her own way, neither does she get the last word, she is constantly overshadowed by men. Kate at the end of the play finally gets to express her opinio... ... middle of paper ... ...ion into a perfect wife is too quick Throughout the Taming of the Shrew women are perceived as second class citizens, constantly talked down to by men and in the case of Petruchio only married because of the dowry.
Rather than just being wild, rebellious and undesired, she becomes a character that the other women strive to take after. She suffers the hardships of “being tamed” while showing other women that they can be a bit rebellious and do not need to be fully tamed. This is best seen in the progression of her sister Bianca. At the beginning of the play she is the perfect child. Doing her studies, listening to her father and indulging her suitors, knowing that her duty as a woman is to marry once her sister is married.
The “Daughter” and “Niece” Archetypes Within Shakespeare’s comedies, many of the female characters are portrayed as submissive and easily controlled. Like dutiful daughters, these women submit to patriarchal repression with little complaint. Perhaps the best example of a “daughter” character in Shakespearean comedy is the role of Hero in Much Ado About Nothing. Hero is completely under the control of her father Leonato, especially with regard to courtship. When, in Act Two, Leonato believes that Don Pedro may seek Hero’s hand in marriage, he orders Hero to welcome the prince’s advances despite the difference in their ages: “Daughter, remember what I told you.
Throughout the tragedy of Othello Shakespeare does an impressive job of quickly introducing and manipulating his main characters. His talents are no less when it comes to the creation and development of Emilia. Though it appears that Emilia is both a loyal and obedient wife, her actions speak much louder than her words. When Emilia betrays the sisterhood within the play of Othello much is revealed to the reader regarding her character. Through close reading and interpretation the reader may come to the realization that Emilia possessed a dangerously low self-esteem, never honestly loved someone wholeheartedly, and ultimately, acted out of jealousy of Desdemona.
Comparing Shakespeare’s Katharina, of The Taming of the Shrew and Beatrice, of Much Ado About Nothing Shakespeare’s Katharina, of The Taming of the Shrew and Beatrice, of Much Ado About Nothing, are very similar characters. Each is plagued with unrequited love, and depressed by their inability to woo the suitor of their choosing. Neither will accept the passive female role expected by society. Yet, both women seem to accept their role as wife by the conclusion. Upon further examination, one will find that Beatrice is a much more complex character.
Additionally, she is obsequious towards Iago because of her female role and responsibility as a wife. As a result of being so obedient, she later steals the highly valued handkerchief because her husband desired it. Shakespeare utilizes Emilia to portray his negative position on marriage and the modest duty of a wife in bed, and nothing more; while developing the submissive character of Desdemona. The foil of Emilia and Desdemona, as a result of their opposing views on marriage and physiognomies of women, helps Shakespeare portray his message of women and marriage. Emilia and Iago’s position on marriage can frequently be uncovered though their reflections on both men and women.
The reader is to assume that meek, mild-mannered, delicate Bianca is wasting away while her much older, aging, brutish sister torments the family with her foul tongue. Katherine seems to hold resentment toward Bianca. Her father favors Bianca over Katherine and keeps them away from eachothers' torment. When gentlemen come calling, Bianca cowers behind her father and Katherine speaks up for herself. "I pray you sir, is it your will to make a stale of me amongst these mates?"
Fairy tale heroines are usually portrayed as weak and submissive characters. They are the damsel in distress, the girl who needs to be saved from the wicked stepmother or witch, and the beautiful daughter in need of a husband. This meek, submissive female character reached its peek in Charles Perrault’s Griselda. Griselda is consistently abused through the entire story by her controlling husband, but she takes the abuse without complaint or protest. Her total obedience to her husband is rewarded at the end when she is reunited with her daughter, restored to her position of power, and finally treated with respect by her husband.
Lady Macbeth finally questioned the courage and manliness of Macbeth by coercing him and teasing him into make a decision that he himself was not sure about doing. It can be concluded that many women who watch the play of Macbeth are shocked by Lady Macbeth’s behavior. She was wicked and immoral, ambitious and greedy, yet cleverly persuasive, and stands out in comparison to the subservient women of society.
Even though Kate is a a person, Petruchio looks down on her, calling her his property. He continues to degrade Kate, for example making Kate look stupid by having her call Vincentio Miss, and doesn’t stop until Bianca and Lucentio’s wedding reception. Katherine confesses, “Such duty as the subject owes the prince, Even such a woman oweth to her husband” (5.2.155–56). She finally bows down to Petruchio, calling him her prince. Even though Kate may have been lying throughout this speech so that Petruchio will have a kid with her and buy her things, it is still when Kate is submissive that he finally treats her like a person.