The subservience of Katherine has been labeled as barbaric, antiquated, and generally demeaning. The play centers on her and her lack of suitors. It establishes in the first act her shrewish demeanor and its repercussions on her family. It is only with the introduction of the witty Petruchio as her suitor, that one begins to see an evolution in her character. Through an elaborate charade of humiliating behavior, Petruchio humbles her and by the end of the play, she will instruct other women on the nature of being a good and dutiful wife.
In the opening scene of Much Ado About Nothing, Beatrice says some harsh things about Benedick (1.I.37-43). She seems to be unprovoked but very rigid in her opinion of him. In Leonato's house, the discussion of Beatrice and marriage leads her uncle to conclude that, "Thou... ... middle of paper ... ...y is important. But the most important thing to note is that the weaker of the two did change her attitudes, beliefs and actions in order to become a better wife for her husband. Both women seem to be happy as do the men and like most conclusions of Shakespeare's plays, all the loose ends are tied up.
Audience's Response to Lady Capulet and the Nurse in William Shakespeare's Romeo and Juliet In 'Romeo and Juliet', Shakespeare presents the audience with two very different but equally significant female characters. By the end of the play Juliet turns her back on both characters but due to Shakespeare's clever presentation of the characters, one the audience agrees with and one they do not. Shakespeare shapes the audience's response to Lady Capulet by creating a harsh, cold woman who shows little maternal feeling towards her daughter. However, more interesting is the presentation of the caring Nurse who, through her acts of maternal love towards Juliet, Shakespeare makes capture the audience's heart. The first, and possibly most effective, technique that Shakespeare uses to shape the audience's response is through speech and the lines he has written for the characters.
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.
Shakespeare uses the characterization of Kate to demonstrate how she defies traditional gender roles by being the only person to speak in iambic pentameter. This demonstrates her intelligence unlike many women. In addition, Kate doesn 't enjoy receiving orders from others. When her father leaves with Bianca and tells Kate she may stay, she gets angry. "Why, and I trust I may go too, may I not?
(Act 1 scene 2 line 22 – 25) Another way of illuminating that Portia is not appreciated in the beginning of the play is when Bassanio borrows money from Antonio to woo Portia, telling him that he would pay him back when he marries Portia. This shows that this is Bassanio’s key objective in wooing her. Moving forwards through the play Shakespeare exposes Portia’s character as an obedient woman in a patriarchal society since she literally gives herself to him – she’s just a possession being handed from father to husband, “Myself and what i... ... middle of paper ... ...men were held in great esteem was because the greatest Queen who ever ruled England (Queen Elizabeth) was at the throne at the time. Also because after reading The Merchant Of Venice for the first time I thought that Portia was admired and was free/ independent. But after studying the text more closely and looking for evidence of this conclusion I realised that most women were dependant on men and that strong female characters, such as Portia, were great role models but were the minority in the female population.
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.
Nora herself may seem like the ideal woman from her facade. She is beautiful, and poses as a distinguished and childish woman. Only after reading the play for one’s self may the reader discover Ibsen’s criticism that he has so cleverly intertwined within his work. By creating his female lead to be a complete contradiction of the feminine ideal, we can see Ibsen’s feminist criticism of gender expectations. Nora is controlled by her husband Helmer on each and every aspect of her life.
The Character of Ophelia in Hamlet Ophelia is a beautiful and simple-minded woman, easily molded by the more powerful opinions and desires of others. The thoughts of her father and her brother influenced her the most. The love letters from Hamlet also swayed her opinions and confused her mind. Ophelia wasn't able to realize herself because of all the pressures exerted on her to be something she's not. That weakness of mind and will, which permitted her obedience to her father and thus destroyed her hope for Hamlet's love, finally resulted in her insanity and death.
I think this is to show that as she becomes tamed, she becomes less of a joke and more of what an Elizabethan lady should have been like at the time. At the beginning of the novel, we are introduced to Katherina, daughter of Baptista and sister of Bianca Minola, a well respected family in Padua. Katherina has a very strong reputation throughout Padua to be a shrew. She is foul tempered and sharp mouthed at the start of the play, and is not the stereotypical Elizabethan lady. She stands up to men, cursing them and showing no respect towards them.