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Essay from the year 2021 in the subject English Language and Literature Studies - Literature, grade: A, , language: English, abstract: The essay deals with Shakespeare’s female characters in “Hamlet” and “As you like it”, raised above society’s conceptions of the female gender. Shakespeare’s writings are highly observant and contain social and historical representations as well as observations about the human condition. His characters show depth and their personalities undergo changes and reach resolutions according to both societal norms of the time but also to the genre of the play. Gender relations were a significant aspect of his writing especially regarding to the time when Shakespeare was writing when women were the property, first of their father and then of their husband according to the law. Their marriages were business transactions with the woman being exchanged for a higher position in society by entering a family of high social status or even to secure survival if the woman’s family was poor. For the transaction to be successful the woman had to be a virgin, of proven chastity, otherwise she was considered to be unwanted for marriage. This related highly to matters of succession since it was the only that the fatherhood of the husband was certain. In this society, where men dominated every aspect of life women were not permitted to reveal their true self and potential instead they were constantly oppressed and obliged to obey men.
Seminar paper from the year 2006 in the subject English Language and Literature Studies - Literature, grade: 2,0, University of Wuppertal, course: Shakespeare's Late Tragedies, language: English, abstract: Why should one choose to examine the female characters of three of the most prominent Shakespeare plays although men are the protagonists in all of them ? Maybe because one may find certain parallels in the construction of woman characters in these Shakespeare plays which reflect the Elizabethan image of women in general. Maybe because Desdemona, Ophelia and Lady Macbeth are rather tragic figures with a developed character. All main female characters seem to have the same tragic element attached to them – namely their early unnatural death. Potter sees this early death as an erotic quality which seems to be inherent in all of Shakespeare’s female characters1. All women seem to have loaded guilt upon them prior to their death. Lady Macbeth is guilty of at least helping in carrying out a murder. Gertrude is guilty of remarrying so quickly after her husband’s death. But finding guilt in Desdemona and Ophelia seems rather hard to manage. Desdemona is found guilty by her husband but the audience knows she is not, while Ophelia may be found guilty by the reader to have betrayed Hamlet by not requiting his love. Apart from guilt obedience seems to play a major role in the context of the female characters. Othello wants his wife to be obedient and fears she is not – independent of whether he is present or not – but when he is present he uses force to make her obedient. Ophelia is also very obedient to her brother and her father, which constitutes the falsehood of her character and may thus play a major role in Hamlet’s development. Gertrude is obedient to her husband the way a wife is supposed to be obedient. She does not have to be reminded and just blindly follows her husband in her words and deeds until the end of the play. Lady Macbeth may be an eception, but in the light of the reversal of order in Macbeth we may state that Macbeth is the obedient figure when he follows his wife’s command. When we consider Macbeth to be a photonegative of the world we can find the obedience motive again. One may argue that when a lack of obedience persists “chaos is come again” which is exactly the consequence of all acts of disobedience of women in the three plays. The three witches who are not obedient to anyone, Lady Macbeth and the consequences of Desdemona’s felt disobedience may serve as an example for the consequences of female disobedience.
This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1885 edition. Excerpt: ... unintelligible world" shall be solved; and that one will be --"the divine Desdemona." Adieu, my friend. I have told you, as you wished me, what I thought about the three important female characters in Shakespeare to which you believed the least justice had been done. Would I had held your pen to write with! Adieu! Ever affectionately yours, HELENA FAUCIT MARTIN. To Miss Geraldine E. Jewsbury. [Before this letter was despatched, I learned that the dear friend for whom it was intended had sunk into a state of unconsciousness. As it was written, however, so I leave it, praying forbearance for what in it is merely personal-- the trifles which would have given it a special value in her eyes.] H. F. M. 31 Onslow Square, London, S.W., February 12, 1881. IV. JULIET IV. JULIET. 31 Onslow Square, 5th January 1881. 'So shows a snowy dove trooping with crows, As yonder lady o'er her fellows shows." OU ask me to write to you, dear friend, of Juliet, and of all my earliest dreams about her. Whose bidding should I heed, if not yours, my always loving, indulgent, constant friend? But indeed you hardly realise how difficult is the task you have set me. Of the characters about which I wrote to our dear Miss Jewsbury, I could speak as of beings outside, as it were, my own personality; but Juliet seems inwoven with my life. Of all characters, hers is the one which I have found the greatest difficulty, but also the greatest delight, in acting. My early girlhood's first step upon the stage was made as Juliet. To the last days of my artist life I never acted the character without finding fresh cause to marvel at the genius which created this childwoman, raised by love to heroism of the highest type. It was at the little theatre beside the Green at Richmond1...
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Focuses on Romeo and Juliet, King Lear, Macbeth, Antony and Cleopatra, and The winter's tale. UkBU.