Feminist Criticism Reveals Gender Roles Shakespeare’s Hamlet is a tragedy set in 1599 – 1601 about a young prince named Hamlet who takes revenge on his uncle, the King of Denmark, ordered by his past father, Old Hamlet for murdering his father. In this play, literary critics uses feminist criticism to demonstrate how Shakespeare explores the roles of gender and women in society. Similarly, Feminist Criticism can be conducted by a literary critic in another literature text titled “The Lady of Shalott” by Alfred Lord Tennyson which was about a young maiden named The Lady of Shalott being held captive in a tower which overlooks the city of Camelot. In both Hamlet and “The Lady of Shalott”, the reader discovers a problem which exposes misogyny …show more content…
This problem allows Shakespeare and Tennyson to reveal a larger pattern of gender roles in English Literature which includes men being in control and women being controlled by men. The major topics that will be explored includes men in control over women, women’s emotions leading to possible death, the stereotype of women in both texts, and an additional understanding of feminist criticism. Although both authors are successful in achieving misogyny and a patriarchal society, the specific boundaries involving freedom vary in the two texts. In order to use Feminist Criticism on Shakespeare’s Hamlet, one must understand the principles of Feminist Criticism. Women are known to be degraded in most English Literature, and literary critics uses feminist criticism to promote the gender inequality presented in the work so that women may be appreciated more in literature. Feminist …show more content…
In Hamlet, Ophelia lives in a castle where she is controlled by men around her such as Laertes, her brother, and Polonius, her father. Laertes and Polonius both counsel Ophelia about her relationship with Hamlet as if she was a child. They informed Ophelia that Hamlet does not love her, that he only wanted to use her, then leave her. In Act 1, Scene 3, Laertes and Polonius, both men, advices Ophelia about Hamlet. When Polonius was counselling Ophelia about Hamlet, Polonius stated, “Think yourself a baby that you have ta’en these tenders for true pay which are not sterling” (1.3.105-107). Shakespeare informs the reader about the occurring of patriarchy in Hamlet by revealing Polonius’ power over Ophelia due to Ophelia’s inability to speak back. In “The Lady of Shalott”, the Lady of Shalott lives in her “four gray walls” (Tennyson, line 15) tower, overlooking the city of Camelot surrounded by men who run the castle. The Lady of Shalott does not have the privilege to go out and enjoy the city like every other citizen because of her duty to stay inside told by her father. The Lady of Shalott’s duty was to obey her father’s rules, which included staying inside the tower. Tennyson states, “There the river eddy whirls, and there the surly village – churls, and the red cloaks of market girls, pass
http://www.freehomepages.com/hamlet/other/essayson.htm#demag-ess N. pag. Pitt, Angela. “Women in Shakespeare’s Tragedies.” Readings on The Tragedies. Ed.
Shakespeare’s Hamlet is set in the late middle ages, in Denmark. A time in history when women were not respected and thought of as the inferior sex. There are two women characters in Hamlet; Gertrude, Hamlet’s mother, and Ophelia, Hamlet’s love interest. Magda Romanska the writer of “Ontology and Eroticism: Two Bodies Of Ophelia”, argues that Ophelia represents the typical idea of women in the nineteenth century. I agree with this, but argue that it is not the only aspect of Ophelia’s character. Ophelia becomes the bearer of Hamlet’s hatred toward the world, and is also the character of lowest status because she is an average women. Ophelia surrenders herself to the cruelty of those around her, and sacrifices her sanctity to please and conform
During the Elizabethan era women had a status of subordination towards men. They had a role to marry and oblige to their husband’s wishes. Shakespearean literature, especially illustrates how a woman is psychologically and physically lesser to their male counterpart. The play, Othello, uses that aspect in many different ways. From a Feminist lens others are able to vividly examine how women were subjected to blatant inferiority. Being displayed as tools for men to abuse, women were characterized as possessions and submissive; only during the last portion of the play did the power of women take heed.
Ekici, Sara (2009). Feminist Criticism: Female Characters in Shakespeare's Plays Othello and Hamlet. Munich: GRIN Publishing.
The Woman's Part: Feminist Criticism of Shakespeare. Chicago: University of Illinois Press, 1980. Kolin, Philip C. Shakespeare and Feminist Criticism. NY: Garland Publishing, Inc., 1991. Shakespeare, William.
Ever since Eve was fashioned from Adam’s rib, men have viewed women as objects that they use and abuse like an extension themselves. This idea exists because over time men have become to see themselves as superior beings. This idea has been reinforced by years of culture and tradition; it can be found in the media, the workplace and has even made its way into literature through the mind of William Shakespeare. In his play Hamlet, he explores themes of sexuality and how men view women. One of the ways he does is through the character, Hamlet, who has the idea that men are superior to women. In the play Hamlet by William Shakespeare the main character Hamlet, displays characteristics that proves that he is misogynist. These
Hamlet shows much anger and disrespect to the women in his life. Ophelia’s believing her father’s words breaks Hamlets heart, being the reason for his treatment towards not just her but his mother. Ophelia
In the play Hamlet Ophelia is portrayed as an innocent young woman who does not have a say in anything. All the men control Hamlet, her father Polonius, and her brother Laertes. She is portrayed as inferior to all of them and lets herself be pushed around by them. She is unable to convey her opinions or emotions throughout the play. The men dominate her thoughts and behaviors. In Hamlet, Ophelia’s obedience to her father and brother, along with her dismissal by Hamlet, reveals that women were not allowed to assert their opinions, emotions, or desires in a courtly setting.
It is evident that Hamlet defines Ophelia by her sexuality. Hamlet does not value her as the woman she is. Instead, Hamlet views her as a mere object. Hamlet makes various sexual innuendos towards Ophelia. For example, this is apparent in 2.3, when Hamlet is speaking to Ophelia. Hamlet says, “It would cost you a groaning to take off mine edge” (3.2.250). Hamlet is making this regard to her in public and Ophelia lets him continue. Ophelia because of her gender continues to let Hamlet exploit and oppress her. Ophelia embodies a mutual assessment of femininity. Author Pragati Das writes, “Ophelia, it would seem, wholly at the mercy of the male figures throughout her life, is certainly a victim character” (Das 38). Ophelia does not have any alternative thoughts; she only responds with a simple sentence, “Still better and worse” (3.2.251). Ophelia is not standing up for herself, instead of she “…expresses acquiescence, uncertainty, and obeisance; she utters half lines” (Fischer 2). The power of Hamlet is manipulating Ophelia and it this shown through from her dull reaction of such crudities. Hamlet sums his vulgar and suggestive speech with, “For, oh, for, oh, the hobby-horse is forgot” (3.2.23–24). After Hamlet’s pressures of sexual suggestions, Ophelia is found to be under the absolute dominance of Hamlet’s demands, and as a result, her sanity diminishes. Ophelia’s song reflects on Hamlet, her father, and life
William Shakespeare’s The Tempest provides dialogue that portrays the social expectations and stereotypes imposed upon women in Elizabethan times. Even though the play has only one primary female character, Miranda, the play also includes another women; Sycorax, although she does not play as large a roll. During many scenes, the play illustrates the characteristics that represent the ideal woman within Elizabethan society. These characteristics support the fact that men considered women as a mere object that they had the luxury of owning and were nowhere near equal to them. Feminists can interpret the play as a depiction of the sexist treatment of women and would disagree with many of the characteristics and expectations that make Miranda the ideal woman. From this perspective, The Tempest can be used to objectify the common expectations and treatment of women within the 16th and 17th Centuries and compare and contrast to those of today.
If women were the ones to have power over men, it would change the plot completely. Gertrude wouldn’t have even considered marrying Claudius, Hamlet would not seek revenge, and Ophelia would be the one playing with Hamlet's mind. In all, since this is a fictitious story, Shakespeare is to blame for this horrid portrayal of women. In reality, women weren’t as dependent on men as the play states. They were obedient, but they wouldn’t so insane and drown themselves if their father died.
In Shakespeare’s dramatic works there is no room for the heroic or the strong woman, and therefore many of his plays can be perceived as being antifeminist. Often he portrays women as weak, mad, sexual, and as even witches. Hamlet is no exception. The only women in the play, Ophelia and Queen Gertrude, are given confined and limited roles. These roles are from a male-dominated viewpoint and only add focus to the male characters instead of incorporating the insight and the impact of the women as well.
Smith, Rebecca. The Woman’s Part: Feminist Criticism of Shakespeare. Champaign, IL: U of Illinois P, 1983
Despite Ophelia’s weak will, the male characters respond dramatically to her actions, proving that women indeed have a large impact in Hamlet. Her obedience is actually her downfall, because it allows the male characters to control and use her in their schemes. Ophelia’s betrayal ends up putting Hamlet over the edge, motivating him in his quest for revenge. Ophelia is one of the two women in the play. As the daughter of Polonius, she only speaks in the company of several men, or directly to her brother or father. Since we never see her interactions with women, she suppresses her own thoughts in order to please her superiors. Yet however weak and dependent her character is on the surface, Ophelia is a cornerstone to the play’s progression. One way that her manipulation is key to Hamlet’s plot is when Polonius orders her “in plain terms, from this time forth/ Have you so slander any moment leisure/As to give words or talk with the Lord Hamlet,” (1.3.131-133). She complies with his wishes, agreeing to return any tokens of Hamlet’s love to him, verify t...
Leininger, Lorie Jerrel. “The Miranda Trap: Sexism and Racism in Shakespeare’s Tempest.” The Woman’s Part: Feminist Criticism of Shakespeare. Eds Carolyn Ruth Swift Lenz et al. Urbana: University of Illinois Press, 1983. 285-294