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Patriarchy in Things Fall Apart
Main themes in Things Fall Apart
The theme of the book 'Things fall Apart
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In “The Tempest”, “Translations” and “Things Fall Apart”, the theme of patriarchy is explored in different settings; the colonisation of the Irish in “Translations”, an unnamed island in “The Tempest” and the Igbo tribe in “Things Fall Apart”.
Prospero is a familial patriarch, shown through his dominant control of Miranda, such as ‘the very minute bids thee ope thine ear. Obey and be attentive’ . Hugh’s control of Manus is familial, as is Okonkwo’s control of his wives and children. Prospero’s control of Caliban and Hugh’s control of the school is societal. Aristotle says that Humanity is divided...those who have the right to command and those who are born to obey , an aspect of clear importance in these texts. The Elizabethan audience had been thoroughly conditioned to accept the doctrine of the Divine Right of Kings. The philosophical theory of the Divine Right of Kings, considered a King to be a representation of God, appointed by God and above the law, only subject to God’s will, thus anyone below the King, is subject to his command. Prospero is presented as the coloniser, coming under threat with the arrival of the ship, whilst Okonkwo and Hugh are not. Inclusively, Prospero and Okonkwo represent the patriarchal period of the time and are perceived as successful societal patriarchs in the eyes of a Jacobean and post-colonial audience, whereas Hugh is not, as he doesn’t set his priorities correctly and realise at first, the implications of colonialism.
The way in which Prospero and Hugh dominate the other characters are similar. Prospero strongly adheres to the Great Chain of Being, which categorised a strict religious hierarchical order, which saw women below men and beasts below women. Prospero, as a societal patriarch,...
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• Reinares, Maria Laura Barberan, “Remapping and Renaming Ireland: A Postcolonial Look at the Problem of Language and Identity in Brian Friel’s Translations. “ (2007)
• This quote was readdressed in the seventeenth century by the Royalists Thomas Hobbles who in 1651 wrote, “Aristotle in his first book of Politiques affirms as a foundation of the whole politically science, that some men by nature are worthy to command, others only to serve.” (Hobbes, T. (1651) Philosophical Rudiments Concerning Government and Society, 1651[Rudiments], iii. 13, 46.)
• Strong-Leek, L, 2001. “Reading As A Woman: Chinua Achebe’s ‘Things Fall Apart’ ‘Feminism Criticism”.
• Vaughan, Virginia Mason “Something Rich And Strange”: Caliban’s Theatrical Metamorphoses
• Vaughan, Alden T. - The Tempest (Arden Shakespeare Third) [Paperback], Virginia Mason Vaughan, 2011
The way in which both authoritarian figures dominate the lower classes are similar. They strongly adhere to the Great Chain of Beings, in which it categorised a strict religious hierarchical order, which saw women below men and beasts below women, thus in both cases men having complete dominance. Prospero exercises his control through Caliban, with his coarse use of language and his ability to make him complete domesticated duties, such as when Prospero tells Miranda that one of his tasks is to ‘fetch in the wood’. Hugh employs exactly the same technique, by making Manus complete domesticated duties, such as ‘get him food – get him a drink’. Both dominant figures subjugate others, in order to increase their social stand...
The role of the female has developed from being submissive and “obedient” in the Elizabethan era to being independent and liberated within the contemporary setting. The racism of the first text is overtly xenophobic and natural, whilst the “moor” is unnatural whereas the updated context portrays Othello’s race as natural and racism as unnatural. Therefore these examples show how Shakespeare’s Othello, and it’s appropriation, Geoffrey sax’s Othello, reflect the context and values of their times.
Since the seventeenth century many interpretations and criticisms of William Shakespeare’s The Tempest have been recorded. Yet, since the play is widely symbolical and allegorical Shakespeare’s actual intentions behind the creation of the play can never be revealed. But it is precisely this ambiguity in intention that allows for so many literary theorists, historians, and novelists to offer their insight into the structure and meaning of the play. For many years much of the critical treatment of the play has come from an educated European heritage, like the play itself. However, beginning in the nineteenth century with the re-emergence of the original text of the play and a growing global awareness in Caribbean and African nations, many attitudes were arising about the apparent cultural associations of the play’s characters and the largely heretofore unchallenged European views that had dominated popular ideology. What was once superficially taken as a play about the expansion of European culture into the Americas, was now being explored for its commentary about the inherent dominance and oppression of the natives of the Barbadian islands (the geographical setting of the play), and further as a commentary on slavery and oppression as a whole. The plays main characters, Prospero and Caliban, have come to personify the thrust of the oppressors vs. oppressed debate.
In conclusion, as the play progresses, Prospero constructs the hierarchy in such a way as to return things to their "natural" state. Any type of usurpation, whether attempted or successful,
Within The Tempest by William Shakespeare, the relationship between servant and master often differ because of the servant’s vast differences. Ariel, the air spirit, is very subservient and depends on approval from Prospero. In contrast, Caliban, the slave from the earth, is aggressive and devising. Prospero tends to treat the two servants in a very different manner. Overall, the imbalance of power found in The Tempest between servant and master cause the relationships between Prospero and each servant to be extremely different resulting in different behavior from those in servitude.
During Shakespeare's time social classification was much more rigid than today and some members of society were considered superior to other members. Shakespeare provides an example of this rigid social structure through his play, The Tempest. Shakespeare illustrates how superior men differentiated themselves from lesser beings on the basis of race, financial status, and gender. Through the character of Prospero, Shakespeare provides and example of one, who had reason to feel superior, yet treated others equally and with the respect due to them.
In summary, Shakespeare’s The Tempest play explores the theme of opposition to the colonial-style authority of Prospero based on various characters’ covert and overt reactions to the master’s antics. For instance, Ariel opposes Prospero’s continuous detention of the former regardless of an earlier agreement to the contrary. Moreover, Caliban expresses his dissatisfaction with the forced labor that her does for Prospero. To prove his opposition to Prospero’s authority, Caliban plans the master’s death. Miranda also makes a statement that indicates her displeasure with the way Prospero executes his authority especially with regard to Ferdinand. The imprisoned Ferdinand also indicates his opposition to Prospero’s power through a disproving statement made before Miranda.
The Shakespearean play, The Tempest, is one of the most controversial in terms of relationships in the play. The play was written in 1611 soon after the English arrived in America in 1607, launching the colonial period. This was the beginning of colonization to America, which lead to the evolution of indentured servants into slaves. Many critics have stated that the relationship between Prospero and Caliban was that of a slave and master and a representation of how the English colonized foreign lands that belonged to the indigenous Americans. Each situation could be argued and validated according to the portion of the play being analyzed. Both roles are applicable and I will provide evidence of both to prove that they are synonymous in a sense.
Skura, Meredith A. Discourse and the Individual: The Case of Colonialism in the Tempest. (1989): page 42-69. JSTOR. Web. 06 Feb 2011
Prospero’s Abuse of Power in The Tempest. In William Shakespeare's The Tempest, Prospero lives with his daughter Miranda on a deserted island. On the surface, he appears to be a benevolent leader doing his best to protect and care for the inhabitants of the island, especially for Miranda. On closer inspection, however, Prospero plays God, controlling and creating each individual to fit the mold he desires.
William Shakespeare’s The Tempest provides dialogue that portrays the social expectations and stereotypes imposed upon women in Elizabethan times. Even though the play has only one primary female character, Miranda, the play also includes another women; Sycorax, although she does not play as large a roll. During many scenes, the play illustrates the characteristics that represent the ideal woman within Elizabethan society. These characteristics support the fact that men considered women as a mere object that they had the luxury of owning and were nowhere near equal to them. Feminists can interpret the play as a depiction of the sexist treatment of women and would disagree with many of the characteristics and expectations that make Miranda the ideal woman. From this perspective, The Tempest can be used to objectify the common expectations and treatment of women within the 16th and 17th Centuries and compare and contrast to those of today.
In the 1600s, married women were expected to do anything for their husbands. Husbands were urged to be good heads of their families and to treat their wives with kindness and consideration. The woman were considered to be the 'weaker vessel ' and thought to be spiritually weaker than men and in need of masculine guidance. During this time, women were treated as inferior being who were meant to look after the house and were to children . Women were treated with little dignity. In “The Tempest,” William Shakespeare was able to show the oppression of women throughout the play. Scenes with Prospero and Miranda have shown significant hidden evidence to prove that the colonial era was a time of female oppression. Shakespeare uses Prospero as an
During both periods, the men were the leaders and the females were their inferiors. Prospero and Miranda, the father and daughter in William Shakespeare’s play The Tempest, are an example of a relationship between a father and daughter in Elizabethan England, however they were slightly different from the norm of their period. Prospero had to do everything for Miranda since she had no known mother and they were on a deserted island, she was unable to go to a household of a relative, which was a commonplace during this time. Prospero is in complete control of Miranda. He raises her in his image and as nearly all fathers of his day demand respect.
Ferdinand and Miranda’s type of relationship shows Shakespeare’s ideas about true love, recognising not just the emotional side of love, but the physical nature too. Miranda promises Ferdinand “The jewel in my dower” which is her virginity, a prized thing in Jacobean times. This knowledge would have been known by Shakespeare’s audience and knowing this helps us to understand Prospero’s protection of his daughter from Caliban.
Prospero treats his two servants in very different ways as their behavior and attitudes towards him are contrasting. From this, the question arises why he treats his equally hard-working servants in different ways and if he is wise in his actions.