The Misanthrope
The Misanthrope, like most plays, has few women characters. There are three female individuals, one of who plays a major role, and two whomreferred to as foil characters. Arsinoe, one of the foil characters, expresses Moliere's opinion that women are gossipers. The other female character is Eliante who foils out Alceste's passionate nature. Although foil characters are usually overlooked, this essay will focus on their roles, portraying their typical personalities obtained by the average person.
"I visited, last night, some virtuous folk, and, quite by chance, of you they spoke . . . the quantity of gentleman you see and your by now notorious coquetry . . . I came to your defense as best as I could, assured them you were harmless, . . ."
As the reader, one clearly learns that Arsinoe told Celimene about the gossip she had with her friends. Arsinoe doesn't really care about her. She is simply putting her down. "[Celimene] whom you love, and pretends to love you, is, I regret to say, unworthy for you." By saying this to Alceste, Arsinoe clearly shows that gossip can betray a friendship. However, Celimene uses the gossip technique as well.
Celimene, in revenge, tells Arsinoe that a "conversation soon came around to [Arsinoe]. Your prudery and bustling zeal appeared to have a very slight appeal . . . one should learn the art of living well before one threatens men with hell."
Moliere demonstrates through the use of gossip that women will betray and back stab anyone, even their friends. The implication Moliere expresse in this scene and other parts of the play is that women can't be trusted. The outcome of this is trust is gossip and lying; just like Celimene told all her suitors and be lovers that she only loved them.
Alceste tells Eliante that his lover betrayed him and asked that "the faithful worship of mine will offer up to yours as to shrine." Eliante answers him that "You may have my sympathy in all you suffer." Here we see that Alceste is asking Eliante to sleep with him only because he was newly rejected. Eliante replies agreeingly.
Alceste, having rejected Celimene, is in a state of awareness. He says to Eliante:"permit me ever to esteem you so, and if I do not request your hand . . . I sense that fate does not intend me for the married state."
At first, Alceste wants to sleep with Eliante to get picked up off the rebound from being rejected by Celimene.
...ning that if one does not love one’s partner one could not change it because one is married to him or her. It is this Lai that greatly changes how individuals act towards the expectations of the society because Eliduc’s original wife decides that she wants him to be happy with the young princess rather than unhappy in a marriage with her. This major revelation comes about when Guildeluec watches the weasels, and takes on the animal role to save the princess. Eliduc is a tale of personal sacrifice to ensure others around you are happy, this is the first time we see this in a medieval Lai.
The play "Tartuffe", by Moliere, is a work that was created to show people a flaw in their human nature. There are two characters who portray the main flaw presented in the play. Both Madame Pernelle and Orgon are blinded to the farces of Tartuffe and must be coaxed into believing the truth. The fact that Orgon and Madame Pernelle are too weak to see the truth is an important theme of the play.
In the first part of the play Egeus has asked the Duke of Athens, Theseus, to rule in favor of his parental rights to have his daughter Hermia marry the suitor he has chosen, Demetrius, or for her to be punished. Lysander, who is desperately in love with Hermia, pleads with Egeus and Theseus for the maiden’s hand, but Theseus’, who obviously believes that women do not have a choice in the matter of their own marriage, sides with Egeus, and tells Hermia she must either consent to marrying Demetrius, be killed, or enter a nunnery. In order to escape from the tragic dilemma facing Hermia, Lysander devises a plan for him and his love to meet the next evening and run-off to Lysander’s aunt’s home and be wed, and Hermia agrees to the plan. It is at this point in the story that the plot becomes intriguing, as the reader becomes somewhat emotionally “attached’’ to the young lovers and sympathetic of their plight. However, when the couple enters the forest, en route to Lysander’s aunt’s, it is other mischievous characters that take the story into a whole new realm of humorous entertainment...
In each of these plays, the protagonist is a woman who has a very independent mindset, but is limited by society in how much she is able to do for herself. For example, after Antigone buries Polynices, she tries to defend what she did to Creon. However, he refuses to listen to her because he doesn’t want to seem like he would listen to a woman (Sophocles 37). His refusal shows that men are supposed to be dominant over women and a man who listens to a woman is not masculine. It also represents the idea that during this time period, women have no valuable opinion. Additionally, in A Doll’s House, Nora is criticized for taking out the loan on her own, like when Mrs. Linden says, “Why, a wife can’t borrow without her husband’s consent!" (Ibsen 151). This criticism demonstrates the idea that women are unable to make their own decisions and decide things for themselves. It also shows the belief that only men have the sense to make a business deal, and w...
Soon after this, Calixta who is then feeling the situation gets up to look outside the window, as not to keep looking at Alcee for she knows what may come of it. Alcee then also gets up to look out the window so that he may stand close to Calixta, which shows how Alcee wants to be with her. While Calixta is looking out the window she sees that it is raining hard and there is strong winds and lightning, which clearly signifies how mixed up Calixta’s feelings for Alcee are at that moment. After this Alcee grabs Calixta close to him as she staggers back, she then retreats and immediately asks where her son may be. This also shows that Calixta is having mixed feelings with the situation. Which is the reason she gets loose but does not tell Alcee to control himself but yet like nothing had happened wonders where her son may be, “ Bonte! She cried, releasing herself from his arms encircling arms and retreating to the window… If I only knew were Bibi was!”
Shakespearian tales always leave us with a plethora to ponder about the Elizabethan age and Shakespeare himself. “Othello” is no break in this mold, leaving us to ponder the roll of Iago within the harsh tale of love and murder. Iago is the one to tell Othello of his wife’s betrayal with Cassio, hence making up a story that will work to his favor yet betray those around him. Iago betrays his wife, Emilia, but not only her as he drags Othello, Desdemona, and Cassio into the mix of lies and the hatred he is spreading to improve his rank with Othello. But were Iago’s acts unjust and done for the sake of it? Is he a heartless man who’s only happiness is to bring sorrow upon others? No, Iago has a just reason for what he does, even though he causes the deaths of Cassio, Emilia, and Desdemona in his search for revenge; Iago is not a heartless fiend, just a man wronged.
... that refusal made you smart, / It’s little that you know of [a] woman’s heart, / Or what that heart is trying to convey / When it resists in such a feeble way” says Elmire (239). The only way for Elmire to prove Tartuffe's hypocrisy is through sex, unlike in the Tempest where Caliban tries to forcefully seduce Miranda.
Antigone’s two purposes for giving this speech are centered on her two main audiences, Creon and the citizens of Thebes. In reference to Creon, Antigone’s purpose is to convey that even after being caught, she does not fear his power, or her punishment. She desires to show him that she stands by the justness of her actions and the injustice of her conviction. To display this, she refers to her ...
”Revenge tragedy has long been recognized, on the one hand, for the speed with which it becomes virtually synonymous with stage misogyny and, on the other, for its generic and sometimes profound investment in recognizably Renaissance process of mourning- revenge, after all, is the private response to socially unaccommodated grief- but typically mourning and misogyny have been considered in isolation from one another, in separate studies and only insofar as the duplicate Renaissance habits of thought articulated elsewhere in medical or philosophical discourse.”(Mullaney)
Antigone asks Ismene, her sister, if she recognizes how Zeus fulfills them as they live the curse of Oedipus. Although this idea of fulfillment manifests itself specifically in the tragedy of Ismene's and Antigone's radical behavior, the myth also serves as an archetypical model of a woman's position in society, and its patriarchal elements. The influence of Oedipus' curse over his daughters, whether mythological or directly familial, lingers in the ethos of psycho-sexualized European mores. Culturally, this notion characterizes masculinity as being `large and in charge,' the provider and protector; thus, femininity necessarily involves a certain subservience. Such ethos associates femininity with certain gender roles. The story of Oedipus and his daughters, therefore, highlights the overshadowing efficacy of the male presence and it's effects on the female psyche. For instance, Jane Austen's Northanger Abbey, Emily Bronte's Wuthering Heights, and William Shakespeare's Much Ado About Nothing, each paint a picture of the feminine gender role, which predominantly consists of becoming a proper wife, so as to secure a husband, or mother, so as to produce his heir. Essentially, the occidental woman of this period is confined to a life of marriage. In such a patriarchy, what happens to an Antigone, a vicious rejection of all social conventions? And to an Ismene, a passive surrender to patriarchy's nomos? A woman's relationship to society's oppr...
Alcée, a planter and a man of the outer sphere enters Calixta’s domain with good intentions. Alcée, a man with much respect and honor for Calixta, greets her and acknowledges that she is a married woman. He greets her by name and properly asks permission to wait out of the storm on her porch. She properly addresses him as “M’siur Alcée” when she greets him. Alcee, who happened to live nearby, could have ridden on through the storm, but he did not. Instead, as Lawrence I. Berkove claims, Alcee’s “wish to escape a drenching in Calixta’s home is “innocent” (90).
Although the Fool and Cordelia are similarly candid towards their King, they never interact in Shakespeare’s King Lear, because the Fool is a chaotic influence while Cordelia is a stabilizing force. While the Fool and Cordelia both act in the Lear’s best interest, it is not always evident to Lear. The Fool’s actions often anger the King, and lead to an increase in his madness. On the other hand, Cordelia’s actions more often soothe Lear, and coax him back into sanity. Another commonality between the Fool and Cordelia is their honesty. Both the Fool and Cordelia are frank with Lear, though he may not always appreciate that they do so for his own good.
In William Shakespeare’s tragic play Othello there are numerous instances of obvious sexism aimed at the three women in the drama -- Desdemona, Emilia and Bianca – and aimed at womankind generally. Let us delve into this subject in this paper.
In one of the opening scenes, the fluctuating emotions of the heated dialogue between Ismene and Antigone takes place. The two sisters take turns evoking passion and subjectiveness on their role as people in this world, but more specifically as civilians of Greece. Antigone has the mentality that she owes her duty of being an obedient family member (Johnson 370). Likewise, Ismene fears for her sister’s life and tries to persuade her that her allegiance may lay too strongly in the wrong place. Both women ultimately value family, however, they are split between whom they are most considerate to and immediately cause the audience to take sides.
After Duke Orsino asks Cesario (disguised Viola) to make Olivia love him, although she had stated that she would not marry for seven years due to her sadness from her brother’s death, Cesario tells him “I’ll do my best to woo your lady.” Then Viola tells the audience “(Aside) yet, a barful strife—Whoe'er I woo, myself would be his wife,” meaning that she has to convince another woman to love the man she loves. The exchange of words in this scene exemplifies dramatic irony since the reader now knows that a love road that connects Duke Orsino, Viola, and Olivia has formed while Orsino is clueless about the situation. Situational irony can also be withdrawn from this conversation because it is shocking that Viola is in love with Orsino. Viola’s sudden love for Orsino illustrates a universal truth about life that sometimes people fall in love too quickly without thinking far ahead.