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Shakespeare's treatment of female characters
Shakespearean drama essay
Shakespeare's treatment of female characters
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Shakespeare’s play Measure for Measure uses words to both confuse and represent the religious and sexual struggles of the characters. We can see this in act two, scene four of the play. This conversation between Angelo and Isabella shows how the characters use language to convey their ideas, to each other and against each other, and how sexual and religious influences are undercurrents throughout, especially for Isabella. Starting at the end of Angelo’s second big monologue, we can see at once how he uses sexualized religious images and how they reveal him. The end of his monologue reads, “You must lay down the treasures of your body / To this supposed, or else let him suffer” (lines 96-97). The image of Isabella laying down her body at once …show more content…
She does not subjugate herself to Angelo. She uses his metaphors and imagery against him. She says, “Th’ impression of keen whips I’d wear as rubies / And strip myself to death, as to a bed / […] ere I’d yield / My body up to shame.” (101-2). Keen usually means sharp in the way of intelligence and in reference to objects. Keen can also mean an Irish funeral song that involves intense wailing, and a person full of desire. The keen whips could be a reference to the Christian practice of whipping oneself in order to feel the pain that Jesus Christ felt. She could be suggesting this form of punishment would be used on her, not as a religious practice, but as a judicially induced pain stemming from her rejecting Angelo. This is another reason she uses keen. She is implying that her screams of pain stemming from the whips would make a funeral song. The advent of this painful screaming image illuminates how the line could also be a sexual reference. The impression of keen whips could be Angelo, as a person full of desire, and his phallic member, as the whip. In the act of taking her virginity, one can see where the screaming image would come
Since 1970, when the Isabella of John Barton's RSC production of Measure for Measure first shocked audiences by silently refusing to acquiesce to the Duke's offer of marriage at the end of the play, Isabella's response (or lack thereof) to the Duke's proposal has become one of the most prevalent subjects for Shakespearean performance criticism.See, for example, Jane Williamson, "The Duke and Isabella on the Modern Stage," The Triple Bond: Plays, Mainly Shakespearean, in Performance, ed. Joseph G. Price (University Park: Penn State UP, 1975), pp. 149-69; Ralph Berry, "Measure for Measure on the Contemporary Stage," Humanities Association Review 28 (1977), 241-47; Philip C. McGuire, Speechless Dialect: Shakespeare's Open Silences (Berkeley: U of California P, 1985); and Graham Nicholls, Measure for Measure: Text and Performance (London: Macmillan Education, 1986). However, attention to this issue has tended to overshadow another ambiguous aspect of the same stage sequence: the question of why the Duke asks Isabella to marry him in the first place. It is generally agreed that the text provides no evidence to suggest a romantic attachment to Isabella on the Duke's part until the moment of his proposal, but the play's stage history reveals a pattern of attempts to supply what the text lacks, either through stage business or interpolated declarations of love. Hal Gelb notes, "Critics and directors have so keenly felt a sense of the marriage as a tacked-on after-thought that they have sought ways to prepare it earlier in the play" ("Duke Vincentio and the Illusion of Comedy or All's Not Well that Ends Well," SQ, 22 [1971], 31). These attempts, based on a culturally specific conception of matrimony as prompted by erotic desire, disregard other textually prominent motivations for marriage grounded in Renaissance moral, social, and financial concerns. Ann Jennalie Cook, comparing contemporary notions of marriage to those of the sixteenth and seventeenth centuries, writes, "Despite the romantic ideas expressed in plays and poetry, most marriages were contracted on the basis of interest rather than affect. Society demanded a legitimate male heir to preserve the family name and properties. Moreover, the financial arrangements of a marriage settlement were essential to insure that both parties could live securely until death. Marriage was also viewed as the safest outlet for the healthful discharge of sexual appetites.
With its entangled double plots and eloquent use of words, Much Ado About Nothing is a story that has the ability to entertain the masses both young and old. Shakespeare’s use of figurative language along with situation creates such vivid imagery for which carries the drama from beginning to end. For example, when we look at Act 1 Scene 1 of the play ...
To conclude; the play Measure For Measure showed that the truth will be spoken eventually. Measure For Measure is also known as a dark comedy because in the comical relief it was about people being hanged or punished because of prostitution or being drunk. The play shows lust, love and justice throughout the play’s
It is this mix that so marks the play out from pure comedies such as
Lately, it would be difficult to find a person who speaks in the elaborate way that nearly all of Shakespeare’s characters do; we do not describe “fortune” as “outrageous” or describe our obstacles as “slings and arrows,” neither in an outward soliloquy or even in our heads. Lately, people do not declare their goals in the grandiose fashion that members of royal family of Thebes proclaim their opposing intentions: Antigone’s to honor her brother and Kreon’s to uphold his decree. Lately, people do not all speak in one unified dialect, especially not one that belongs specifically to the British upper class; Jack and Algernon’s dialogue is virtually identical, excepting content. Unlike the indistinguishably grandiose, elaborate, fancy way characters speak in Shakespeare’s plays, Antigone, The Importance of Being Earnest, and other plays written before the turn of the twentieth century, more recently written plays contain dialogue that is more unique to its speaker. This unique dialogue indicates a change in the sort of characters which drama focuses on which came with a newly developed openness to those who are different from us. Moving away from recounting tales of nobility, royalty or deities brought the lives of a common, heterogeneous populace to the stage and, with these everyday stories, more varied speech patterns.
The Tragedy of Othello by William Shakespeare is a great work by a great author. Shakespeare was correct in titling it The Tragedy of Othello because Othello lost so much. In the literary sense, a tragedy is the downfall of a character through that character's own flaws. The way most people see a tragedy is a story where there is much suffering and loss, and a not so happy ending. No matter way one looks at it, literary or public sense, this was a correct title. The main character, Othello, brought his own downfall upon him through his flaws, caused the suffering of many people, and he himself loss very much. All of these factors pile up to equal a big tragedy.
hetoric – ars bene dicendi – is, according to the antique definition, the art of speaking and writing well, adequate to the situation, proving morality and the desire to obtain an effect, an expression which can attract the general interest. According to W. Jens, it contains both the theory (ars rhetorica, the art of speaking), as well as the practice (ars oratoria, eloquence). Rhetoric created, as theory (rhetorica docens), a multitude of categories to produce (and analyse) some efficient texts.
William Shakespeare’s dramatic and poetic techniques and his use of hyperbole are used to describe the characters emotions and weaknesses. The use of dramatic irony is used to create personal conflict. This is done throughout the play to describe the characters concerns and their situations.
Near the end of all plays there is the climax, the part of the play where all the action comes together, the most important part of the play. Near the end of Measure for Measure, Isabella confronts Angelo in front of the Duke. This is the climax of the play. Although there are many important parts in Measure for Measure, by William Shakespearem, Isabella's accusations of Angelo is the most important because of the language used, the charactor development that comes out, and the emphasis of the plays themes.
Almost anywhere that you go in America or even the world, the people have heard of William Shakespeare. His name is probably one of the most common ones in our society today, and has been since his time. But has anyone ever raised the question why? Why do we, as a society, read William Shakespeare's plays? The answer is a simple one
Parallels between Measure for Measure and The Merchant of Venice, As You Like It, and Twelfth Night
It becomes quite apparent that the modern scriptwriter does not have exclusive rights to the use of enrapturing dialogue in the creation of gripping scenes. In fact, it may be argued that the medieval playwright was more reliant on dialogue to interest the audience because he needed to write a play that would be engaging on a limited and often primitive set. In just reading this play, I became attuned to the reactions of an audience viewing the play; I believe this attests to the playwright's effective use of language, particularly dialogue, since there are few stage directions, in his composition of The Sacrifice of Isaac.
Shakespeare's Measure for Measure can be seen as an early account of sexual harassment. While the issue of women's rights had hardly been explored at the time the play was first performed, Measure for Measure touches on issues of sexuality, independence, and the objectification of women. Despite these serious issues, the play is considered a comedy, and the story it tells is filled with amusing characters as well as broad sociological questions.
From the beginning of the play the Duke shows his fascination with the art of disguise. He has Lord Angelo takes his place and he in turn becomes a friar in disguise. Throughout the play this notion of false identity and exchange of identity plays an important role for the Duke and also for the characters in the play.
Shakespeare’s dramatic theatre performances have long endured the test of time. His tales of love and loss, and even some history, make a reader think about events in their own life and what they wish to accomplish in life. Though written for the stage, Shakespeare’s plays have life lessons that readers of the great works can take put into effect in their own lives. Some may say that his plays are out dated, and are something of the past; though they were written in the 1600’s, they have morals and themes that can apply to life. “You've got to contend with versification, poetic license, archaisms, words that we don't even use any more, and grammar and spelling that were in a state of flux when the works were written,” says Pressley in an attempt to explain how to read Shakespeare. Once read and understood, however, one can start to compare and contrast different plays. The ways in which Shakespeare’s two plays King Lear and Much Ado About Nothing are similar out numbers the instances they are different, even though one is a Shakespearian tragedy while the other is a comedy.