In William Shakespeare’s tragic play, Othello, Desdemona asserts, “‘wouldst thou do such a deed for all the world?’” (4.3.76). During a friendly banter, Desdemona asks Emilia this very question; would she cheat on her husband to help him become monarch and have power over all the world? She quietly replies that she would only in secret, but only for her husband’s own good. This question plays an essential role throughout Othello because Emilia is first accused of cheating on her husband. Additionally, she is obsequious towards Iago because of her female role and responsibility as a wife.
Sexism in The Taming of the Shrew by William Shakespeare The Taming Of The Shrew by William Shakespeare is an introduction in the everpresent battle of women to be loving and caring wives, while at the same time holding on to our independence. Its plot is derived from the popular 'war of the sexes' theme in which males and females are pitted against one another for dominance in marriage. The play begins with an induction in which a drunkard, Christopher Sly, is fooled into believing he is a king and has a play performed for him. The play he watches is what constitutes the main body of The Taming OfThe Shrew. In it, a wealthy land owner, Baptista Minola, attempts to have his two daughters married.
But the society is also highly matriarchal. After the knight commits a rape, the king hands him over to Arthur's queen, who decides to send him on an educational quest. His education comes through women, and the queen's challenge puts him in a situation where what is traditionally thought of as a shortcoming—a woman's inability to keep a secret—is the only thing that can save him. The Wife's digression about King Midas may also be slightly subversive. Instead of finishing the story, she directs the reader to Ovid.
Hamlet continually criticizes her incestuous liaison with his uncle, her brother-in-law, and uses her connections with his uncle in order to further his plan to have revenge on his uncle. In other Shakespearian plays, the male characters usually have respect for the women that they are associated with; in Hamlet, however, Shakespeare chooses to instead portray women more realistically. At the time when this play was written, it was very common for women to be used merely as pawns for either their fathers, brothers, husbands, or lovers. This shows Shakespeare’s deviation in this play from his characteristic style of writing-it questions that very style in which his other plays were written. Ophelia, as the protagonist’s love interest, generally would occupy a role in which the main character would be openly smitten with her.
But you have many pretty boys With whom you like to take your joys (273-276). Moreover, Guinevere later manufactures a story to tell Arthur, in which the roles are reversed and Lanval is pr... ... middle of paper ... ...Thomas Malory, present Guinevere, Arthur's queen, as one of the causes of the fall of Arthurian empire. Guinevere is described as a wicked and unfaithful wife, whose behavior triggers the fall of her husband's rule. And although other factors, such as people's jealousy and evil, influence the outcome of the legendary empire, Guinevere's unfaithfulness is the primary cause of the fall of King Arthur and his Round Table. Works Cited France, Marie De.
A Feminist Perspective of A Sicilian Romance and The Castle of Otranto In eighteenth century novels, a common means of discussing the role of women in society is through the characterization of two good sisters. The heroine of such a novel is a pure, kind young woman who also has a streak of spunkiness. Her sister may be more good and kind, but she is more submissive and reserved. I would like to look at these sisters (and their mothers) in Ann Radcliffe’s A Sicilian Romance , and The Castle of Otranto by Horace Walpole. It is possible that The Castle of Otranto was the first to introduce these two good sisters as a means of exploring the duties and expectations of modern woman and her right to love.
This is evident in "The Knight's Tale," in which the two protagonists, Palamon and Arcite, war over the hand of Emily, who they have never met, but only gazed upon from a distance. Their devotion to her branches not from love, but the want of men to contain and control the women surrounding them. Now on to the subject of love. Chaucer writes in "The Knight's Tale" of a love based on physical beauty, where the two protagonists fall in love at first sight. This is a common device used in medieval literature to create conflict between characters.
She manages to convince herself that her love surpasses her morals, and she is so far in her delusions that when her husband confronts her, she manages to turn the blame on him and leaves him a “foolish figure”(Byron 1282). He and Alfonso... ... middle of paper ... ...nage to escape their just dues and instead make the men involved in their schemes suffer. The depiction of women as temptresses and deceivers empowered by their feminine wiles is one that has been perpetuated for many years, and is further encouraged by Lord Byron and Geoffrey Chaucer’s portrayal of women in Don Juan and The Miller’s Tale in The Canterbury Tales. Works Cited Byron, Lord. "Don Juan."
Antigone claims her superiority over Creon in confession to Ismene, the chorus, and to the King himself. She undermines his power by going against the decreed law, and instead honors her brother Polyneices by the act of burial. Similar to Lady Macbeth, our heroine Antigone applies the make-up of a man’s abilities as a formidable force against the patriarchy. Near the end of her life, she fears nothing, nor regrets the rebellious acts against the king that bring to her the solace of death. Antigone’s lips gush bold words as bright as burning stars, and from her soft, supple throat, she spews at Creon, “If this hurries me to death before my time/ Such a death is gain.” (210).
(3.2.136-137). Placing death opposite Romeo highlights the irony of the situation; both death and Romeo should claim her maidenhead together. These sexual puns reveal Juliet's awareness of her sexuality. She entices Romeo, forcing her sexuality to act as emotional currency. After her marriage to Romeo, Juliet speaks about her virginity in objective terms: "O, I have bought the mansion of a love / But not possessed it, and though I am sold, / Not yet enjoyed" (3.2.26-28).