Great Britain: Penguin Books, Inc., 1970. Act I, scene v: P: 53.
Both women add to the main themes of the play because of their ability to use their intelligence and witty remarks as well as having a loving heart. The women share many similarities as well as many differences which seem to be inevitable because Portia seems to be put on a pedestal that very few can reach. Portia is one of Shakespeare's great heroines, whose beauty, lively intelligence, quick wit, and high moral seriousness have blossomed in a society of wealth and freedom. She is known throughout the world for her beauty and virtue, and she is able to handle any situation with her sharp wit. In many of Shakespeare's plays, he creates female characters that are presented to be clearly inferior to men.
Henry IV: part one. Ed. P. H. Davison, New York: Penguin Books, 1996. Shakespeare, William. Henry IV: part two.
Doran says very frankly that due to Shakespeare?s representation of women, through his plays, it is very clear that he prides himself with excellence in general. Although Doran brings to our attention the importance, and possible disaster, of over emphasizing glorious attributes, the act of which is known as a hyperbole , Shakespearean females, even when denied fancy dialect and metaphors, still are able to expose their virtues of loyalty, honestly, love, and patience in most everything they do. Doran begins his detailed account of specific females with none other than Cordelia, but due to further argument I will pass over his analysis of Lear?s daughter and continue with his depiction of Desdemona. Doran introduces Desdemona by stating, ? [her] virtues are ?
At the masquerade, Beatrice gives a perfect example of how protective she is of her pride. Her encounter with Don Pedro shows how Beatrice uses language as a shield for love, providing a firm foundation for the giant sign declaring her autonomy. When Don Pedro proposes to Beatrice, her immediate response is "No, my lord, unless I might have another for working-days yours grace is too costly to wear every day. "(2.1.320), which is a clever joke to steer away from love. Coupled with the metaphor of wearing Don Pedro's grace, this diversion also shows how quick Beatrice is to assert her independence.
Kenneth Muir. The New Penguin Shakespeare. London: Penguin Books, 1996.
As You Like It is love: The Language of Love The most obvious concern of As You Like It is love, and particularly the attitudes and the language appropriate to young romantic love. This is obvious from the relationships between Orlando and Rosalind, Silvius and Phoebe, Touchstone and Audrey, and Celia and Oliver. The action of the play moves back and forth among these couples, inviting us to compare the different styles and to recognize from those comparisons some important facts about young love. Here the role of Rosalind is decisive. Rosalind is Shakespeare's greatest and most vibrant comic female role.
New York: Oxford university press, 1995. • Shakespeare. William. Hamlet. London: penguin popular classics, 1994.