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Recommended: Gender roles
Feminism and the Shakespeare's Works
By examining Shakespeare’s treatment of familial ties in his plays The Life and Death of King John and The Winter’s Tale, we can see how his attitudes and opinions towards family relationships evolved. In King John (written between 1594 and 1596), Shakespeare adopts what was then a fairly conventional attitude towards family relationships: his characters never question the highly patriarchal family hierarchy. They also assume that the majority of wives will be unfaithful, simply because they are female—however, they take the charge of adultery rather lightly. By contrast, in The Winter’s Tale (written between 1610 and 1611), he adopts a much more progressive, feminist view of family relationships. Women have a higher standing and more power in The Winter’s Tale than they do in King John. Also, Shakespeare mocks and punishes husbands that assume their wives are unfaithful without sound evidence. In both plays, he criticizes power-based and political relationships, albeit in two very different ways. In all probability, Shakespeare’s increasingly radical thinking changed Elizabethan society.
The family relationships in King John are unquestionably male-dominated. All of the men have some sort of power over their female relatives. Constance’s life is drederful male characters, apparently unable to improve her own situation.
Lady Faulconbridge must also rely upon the men in her life. Her honor rests in the hands of her sons, Robert and Philip. Robert calls her honor into question by claiming that Philip is King Richard I’s natural son in order to secure his own inheritance (1.1.111). Philip supports this claim, renouncing the name of Faulconbridge and adopting that of Plantagenet. ...
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...onships with their sons. The Winter’s Tale—he omits them entirely. All of the characters, including Leontes, genuinely love each other.
By exploring Shakespeare’s attitudes, we come to know him as a revolutionary thinker, not just a playwright and poet. It becomes clear that Shakespeare himself stood a bit outside of society, much like the figure of the Bastard in King John. He critiques both the patriarchalism and political, hypocritical relationships so rampant in Elizabethan England. From the popularity of his plays, we can surmise that Shakespeare gathered quite a following in this revolutionary thinking. The only question remaining is, how much of an impact on Elizabethan society did this innovation have? Although it is impossible to conclusively measure Shakespeare’s impact on early modern thinking, I firmly believe that he permanently altered it.
I will focus on the surname Grayson for the purpose of this essay. I will focus on the two siblings that were the offspring from the coupling of the Scotsman, Rober...
Henry VIII wanted a male to take the throne when he passed away. He paved the way for his son Edward. After Edward died in 1553 Elizabeth found herself once again in political intrigue. [Elizabeth’s older sister, M...
William Shakespeare is well known for being a poet, playwright, and actor. Shakespeare's work appears to be very sexist in gender roles. He uses gender roles in his 'Romeo & Juliet' play. Juliet being the main and most important female role in this play; is supposed to be noble and respectful, but instead she goes against her father’s wishes and acts more educated than she really is. Romeo being the main male role in this play is supposed to be focused and noble, but instead he is passionate in love and isn't very wise with decisions but in comparison to Paris, who is very masculine, focused and noble shows a real renaissance male. This paper will demonstrate how Shakespeare uses gender role reversement ; by having feminism and masculinity, arrangement of marriages, and compare and contrast of different characters to prove the model of genders in Elizabethan England.
Gender roles are one of the most controversial topics in the history of humanity. Some people approve of them, while others disagree with them. Gender roles are defined as “the behavior learned by a person as appropriate to their gender, determined by the prevailing cultural norms”. There are times throughout history where gender roles were very unfair. However, some individuals still defied them in both open and discreet ways. One of these individuals was the famous literary figure, William Shakespeare. Although Shakespeare may have defied gender roles in some of his other literary works, the scope of this essay will be limited to his stellar play, Macbeth. In Macbeth, Shakespeare mostly uses three characters to defy gender roles: The Three
In theory women during the Elizabethan Age had no power in their homes. In royal families the women are the breeders, they had the responsibility to keep the royal bloodline flowing by having male children to keep the male dominance. “A woman whose job is to represent the family, is doing the traditionally female job of being wife or mother.” (Billig) Gertrude’s role in the play had fairly little significance, besides that she was a mother and wife. She showed no reasons as to why she was in such a rush to remarry after her husband, King Hamlet’s death. Claudius, being the wicked man that he was, may have been so eager to claim the thrown as King that he married the widow to rule Denmark. This whole ordeal of his uncle sleeping with his mother made Hamlet infuriated and ill to his stomach. Hamlet showed his emotions when he said:
During the Shakespearean era, obeying husbands and fathers was looked at so highly that it matched obeying the King of England; the uppermost pedestal was reserved for the Shakespearean man. Gender roles lead to the development of self-individualism which divided the men from the women by establishing a deep distrust of women into the men along with an authoritative dominance, and in hand locked women into a permanent submissive position. One of the most oppressed groups throughout history has been women, which were socially, economically, educationally and religiously oppressed during the time period of Shakespearean society. Social normality and political views has been throughout time, arguably the most extreme oppression enforcement over social outcaste subgroups. Society also held a strong grip on artists and the creative messages of the work that artist deliver to the world, which can depict a sometimes hidden, or subtle dropping of opinions of the hard hitting issues at hand during the present time period. Shakespeare is deemed as one of the greatest known writer’s in English history, not only because he was tremendously attentive towards the Elizabethan era and the diverse struggles that haunted the streets of England in everyday life’s routine, but because he did more than just take notice, as he acted upon the travesties he observed by weaving the representation of the world he came to know through his artwork, leaving the world with irreplaceable pieces of literature and insightful history of Shakespearean society.
Society in the16th century was highly structured. Women of the upper class were expected to be trophies for their husbands. The men were required to hunt, lead, and go into battle. If one chose not to follow these dictates, the rest of society would question, look down on, or even punish the deviant. The prominent author, William Shakespeare, placed this subject into comedy and tragedy plays with dramatically different outcomes. In Macbeth and Much Ado About Nothing, William Shakespeare makes fun of stereotypical gender roles by establishing Beatrice and Lady Macbeth as the dominant characters over Benedick and Macbeth through imagery, dialogue, and character personalities.
Paula Byrne claims ‘Ryder and his creator do not love lords indiscriminately.’ Far beyond Waugh’s apparent default sympathy for aristocrats through his condemnation of their world’s destruction, Waugh shows very specific sympathy for the Marchmains. In many ways, their rise and fall resembles the workings of traditional tragedy, beginning as an Arcadian ideal, and ending in addiction, adultery and eventual death of the family patriarch. Connections between their family and characters in Shakespeare’s King Lear are explicit. Cordelia Flyte shares a name with Lear’s youngest daughter, and both seem the most virtuous family member. Julia even compares Charles, his wife and herself to ‘Lear, Kent, Fool […] only each of us is all three of them.’
From the beginning, Macbeth is a play filled with contradictions. In the opening scene, the witches, who are women with beards, declare, “ fair is foul and foul is fair”(1.1.12 Shakespeare). In this disarranged and chaotic world, the conventional gender roles are sometimes unseated as well. However, when they are unseated, negative repercussions always ensue. Furthermore, in Macbeth, Shakespeare implies that traditional gender roles are the most beneficial and should be followed invariably.
Some have made the claim that Shakespeare was pro-feminist and did all he could to illuminate the wrong done to women of his time by creating some overwhelmingly misogynistic characters. This was his way of showing men the errors of their ways and shaming them into showing women more respect. This is an interesting hypothesis for a number of reasons. First of all, there are no signs that it worked, if Shakespeare did indeed intend to reform men. Could the Bard, supposing that he was trying to shame men into changing, influence men in this manner? Can we blame him if he failed? Secondly, and by far more interesting to me, is that, in some cases, feminists seem to be more interested in martyring the Bard than in promoting feminist agendas What proof do we have that Shakespeare was really that enlightened?
Women in the Elizabethan era were subservient to men. They were expected to conform to the societies expectations while obeying the significant male figures in their lives. High-born women were often portrayed “possessions” to be shared between fathers and husbands. In several cases, they were socially restricted and unable to explore the world around them without chaperones. The women were mainly expected to act as loving caretakers to those in their families. In William Shakespeare’s play Macbeth, however, the female figures in the play both promote the idea of unbridled feminine sexuality but also promote the female ideals of being loving caretakers. The dramatic technique Shakespeare uses to characterize his female figure in the play are the setting, the character’s dialogue and what the other characters say about them, especially behind their backs. The three main female characters that endorse but also contradict the archetypes of women are the tyrannical Lady Macbeth, the loving Lady Macduff and lastly the mysterious weird sisters.
Father-Daughter Relationships in Sidney’s The Countess of Pembroke’s Arcadia, Marlowe’s The Jew of Malta, and Shakespeare’s The Merchant of Venice
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...
The nexus of status, gender, and societal roles are consistently topics of interest among people, and can be found throughout the plays of William Shakespeare. More evident in their original production, however, through modern renditions and personal interpretation of readings these topics reoccur often His work dictated specific roles for men and women. Through analyzing said roles one can derive insights regarding the esteem of women and how the relative devaluing of women shaped normal gender roles. However, Shakespeare provides conflicting interpretations, dependent upon the light in which his work is read. Among the possible differing interpretations of Shakespeare’s “Twelfth Night” stands a reoccurring argument throughout history of, men vs. women in a battle of status/power. After reading the play one could make the argument that women are inferior to their counterparts, however, at the same time, the argument could be made that women have more power than men, and both positions be considered accurate.
Treatment of women has evolved much since Elizabethan England. As a preface to the dissection of The Tempest – in particular, the character of Miranda, Shakespeare’s role for women as a whole must be addressed. According to Carolyn Ruth Swift Lenz’s introduction of Woman’s Part, “patriarchal order takes different forms and is portrayed with varying degrees of emphasis throughout the Shakespearean canon” (5). In the midst of this patriarchy, where do women stand? What social assumptions guided the pen of the great English poet and playwright as he wrote The Tempest? Lenz discusses that “In the comedies women are most often nurturing and powerful; as their values educate the men, mutuality between the sexes may be achieved” (6). However, “in tragedy…their roles are at once more varied, more constricted, and more precarious…they are condemned for acting, accused of being deceitful even when they are not” (6). Why the canyon between the two? How does Shakespeare reconcile women in what The Norton Shakespeare terms a romance play?