A Feminist Reading of The Winter’s Tale
In the Shakespearean tragedies we have studied, we have been exposed to tragic male protagonists who create their own downfall. Within these tragedies, Shakespeare's female characters are vested with varying degrees of power in relation to the tragic heroes. In looking back at Othello, King Lear, and Macbeth, The Winter's Tale can be seen as an extension of the exploration into the nature of women and power broached in his earlier tragedies, as well as an amendment for the misogynistic attitudes they contain.
In our class discussions, we were vexed by a condition we found prevalent in both Othello and King Lear; both of these plays end with the deaths of two innocent women: Desdemona and Cordelia. Not only are these women innocent, they are by far the most benevolent and forgiving female characters in the play, little deserving their violent ends. During this discussion, we also added Ophelia to the list of innocent women who die at Shakespeare's hand and questioned whether the playwright was rewarding, punishing, or martyring these women. Although the question was raised, we were not able to come up with a satisfactory answer.
In examining the "evil" female characters we have encountered in Shakespeare's tragedies -- Regan, Goneril, and Lady Macbeth, the primary corrupting factor that links these women is their desire for or exercise of power. When comparing these women with Desdemona and Cordelia, who relinquish their power to men, the concept of "good" and "bad" women in Shakespeare's tragedies becomes overly simplified.
But tragedy, itself, seems to contribute to this over simplification. In a genre that must end with the deaths of its principle characters, the...
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...y, Mary and Jane Caputi. Webster's First New Intergalactic Wickedary of the English Language. Boston: Beacon Press, 1987.
Dash, Irene. Wooing, Wedding, and Power: Women in Shakespeare's Plays. New York: Columbia University Press, 1981.
McLuskie, Kathleen. "The Patriarchal Bard: Feminist Criticism and Shakespeare." Political Shakespeare: New Essays in Cultural Materialism. Jonathan Dollimore and Alan Sinfield, editors. London: Cornell Univ. Press, 1985.
Neeley, Carol Thomas. "The Winter's Tale: Women and Issue" (1985). Reprinted in the Signet Classic Edition of The Winter's Tale. New York: Penguin, 1988.
Pyle, Fitzroy. The Winter's Tale: A Commentary on the Structure. New York: Routledge & Paul, 1969.
Schweickart, Patrocinio. "Reading Ourselves." Speaking of Gender. Elaine Showalter, editor. New York: Routledge, Chapman and Hall, 1989.
Stonehenge was built in several different phases beginning with the large white circle, 330 feet in diameter, surrounded by an eight foot-high embankment and a ring of fifty-six pits now referred to as the Aubrey Holes.(Stokstad, p.53; Hoyle) In a subsequent building phase, thirty huge pillars of stone were erected and capped by stone lintels in the central Sarsen Circle, which is 106 feet in diameter.(Stokstad, p.54) This circle is so named because the stone of which the pillars and lintels were made was sarsen. Within the Sarsen Circle were an incomplete ring and a horsesho...
First theory that comes from astronomical angle is usually the more believed one since there was so many close in content interpretations of it with tiny variations. In the structure of this ancient monument, several types of stones can be observed. There are: Sarsen stones, Trilithon, Blue stones, an Altar...
Stonehenge is located in Southern England on what is known as the Salisbury Plain. The structure looks different than it once did, however. Today, Stonehenge suffers the effects of time and pernicious acts by people. Originally, in the years after completion, the structure was made up of “several concentric circles of megaliths, very large stones.” (5) Stonehenge consists a circular layout of approximately one hundred megaliths. On the tops of them another flat stone was placed to make a continuous ring of horizontal stones. These structures are known as trilithons.
Recent research from the Stonehenge Riverside Project suggests that when Stonehenge was first assembled (c2500 BC), its main purpose was to serve as a burial ground. However, it seems clear that for those who came in possession of it later on, it would have been used as a statement of power – "These are my lands, this is my construction and is an example of my wealth in resources". (Riverside, P.4).
Pitt, Angela. “Women in Shakespeare’s Tragedies.” Readings on The Tragedies. Ed. Clarice Swisher. San Diego: Greenhaven Press, 1996. Reprint from Shakespeare’s Women. N.p.: n.p., 1981.
Dash, Irene G. "Wooing, Wedding, and Power: Women in Shakespeare Plays". The Critical Perspective Volume 2. Ed. Harold Bloom. New York: Chelsea House Publishers, 1986. 825-833.
Pitt, Angela. "Women in Shakespeare's Tragedies." Readings on The Tragedies. Ed. Clarice Swisher. San Diego: Greenhaven Press, 1996. Reprint from Shakespeare's Women. N.p.: n.p., 1981.
Pitt, Angela. “Women in Shakespeare’s Tragedies.” Readings on The Tragedies. Ed. Clarice Swisher. San Diego: Greenhaven Press, 1996. Reprint from Shakespeare’s Women. N.p.: n.p., 1981.
Pitt, Angela. "Women in Shakespeare's Tragedies." Readings on The Tragedies. Ed. Clarice Swisher. San Diego: Greenhaven Press, 1996. Reprint from Shakespeare's Women. N.p.: n.p., 1981.
The nexus of status, gender, and societal roles are consistently topics of interest among people, and can be found throughout the plays of William Shakespeare. More evident in their original production, however, through modern renditions and personal interpretation of readings these topics reoccur often His work dictated specific roles for men and women. Through analyzing said roles one can derive insights regarding the esteem of women and how the relative devaluing of women shaped normal gender roles. However, Shakespeare provides conflicting interpretations, dependent upon the light in which his work is read. Among the possible differing interpretations of Shakespeare’s “Twelfth Night” stands a reoccurring argument throughout history of, men vs. women in a battle of status/power. After reading the play one could make the argument that women are inferior to their counterparts, however, at the same time, the argument could be made that women have more power than men, and both positions be considered accurate.
Pitt, Angela. "Women in Shakespeare's Tragedies." Readings on The Tragedies. Ed. Clarice Swisher. San Diego: Greenhaven Press, 1996. Reprint of Shakespeare's Women. N.p.: n.p., 1981.
Jackson states, “Bobby Martin had already stuffed his pockets full of stones, and other boys soon followed his example, selecting the smoothest and roundest stones; Bobby and Harry Jones and Dickie Delacroix eventually made a great pile of stones in one corner of the square and guarded it against the raids of the other boys (564).” This seems like innocent play until the stones’ true purpose becomes unveiled at the end of the story. Jackson creates suspense through the children and the rock piling.
Smith, Rebecca. The Woman’s Part: Feminist Criticism of Shakespeare. Champaign, IL: U of Illinois P, 1983
Treatment of women has evolved much since Elizabethan England. As a preface to the dissection of The Tempest – in particular, the character of Miranda, Shakespeare’s role for women as a whole must be addressed. According to Carolyn Ruth Swift Lenz’s introduction of Woman’s Part, “patriarchal order takes different forms and is portrayed with varying degrees of emphasis throughout the Shakespearean canon” (5). In the midst of this patriarchy, where do women stand? What social assumptions guided the pen of the great English poet and playwright as he wrote The Tempest? Lenz discusses that “In the comedies women are most often nurturing and powerful; as their values educate the men, mutuality between the sexes may be achieved” (6). However, “in tragedy…their roles are at once more varied, more constricted, and more precarious…they are condemned for acting, accused of being deceitful even when they are not” (6). Why the canyon between the two? How does Shakespeare reconcile women in what The Norton Shakespeare terms a romance play?
Pitt, Angela. “Women in Shakespeare’s Tragedies.” Readings on The Tragedies. Ed. Clarice Swisher. San Diego: Greenhaven Press, 1996. Excerpted from Shakespeare’s Women. N.p.: n.p., 1981.