Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Characterization of women in Shakespeare
Shakespeare portrayal of women
An essay on shakespeare's women
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Characterization of women in Shakespeare
The Perfect Women of As You Like It and Much Ado About Nothing Rosalind and Beatrice, the principal female characters of Shakespeare's As You Like It and Much Ado About Nothing respectively, are the epitome of Shakespeare's ideal woman. From these two characters, we can see personality traits and characteristics of what Shakespeare might have considered the perfect woman. Rosalind and Beatrice are characterized by their beauty, integrity, strength of character, intelligence, gaiety, seriousness, and warmth. Shakespeare used Rosalind and Beatrice to portray his belief that the ideal woman is a woman of beauty. In the play As You Like It, poems were written to Rosalind by her lover Orlando praising her beauty and fairness. "All the pictures fairest lined are but black to Rosalind. Let no face be kept in mind but the fair of Rosalind."1 Phebe, another female character in this play, had a crush on Rosalind when she was disguised as Ganymede, a young boy in the forest. Obviously, this love was merely physical; Phebe was just attracted to Rosalind's good looks. Beatrice is also a fair lady. Men were attracted to her, including Don Pedro, the prince of Arragon, who asked for her hand in marriage. Benedick, whom she married in the last scene, must have been attracted to Beatrice's beauty as well, because he swore to himself that the woman he would choose would have to be fair (II, iii, 29-33). Shakespeare's ideal woman was one of integrity and strength of character as seen in Rosalind and Beatrice. Rosalind is virtuous. According to Monsieur Le Beau, a noble of the court in As You Like It, "... the people praise her for her virtues ... " (III, 284). Rosalind is described by Stanley Wells as "the full... ... middle of paper ... ...terary Characters. New York: Harper and Row, Publishers, 1963. Magill, Frank N., ed. "Much Ado About Nothing." Masterplots Vol. VII. Englewood Cliffs, New Jersey: Salem Press, 1949. O'Connor, Evangeline M. Who's Who and What's What in Shakespeare. New York: Evangel Books, 1978. Schoenbaum, S. As You Like It--An Outline-Guide to the Play. New York: Barnes and Noble, Inc., 1965. Scott, Mark W., ed. "As You Like It." Shakespeare Criticism. Vol. V. Detroit, Michigan: Gale Research Co., 1987. Scott, Mark W., ed. "Much Ado About Nothing." Shakespeare Criticism. Vol. VIII. Detroit, Michigan: Gale Research Co., 1989. Shakespeare, William. The First Folio of Shakespeare: The Norton Facsimile. New York: W.W. Norton and Company, Inc., 1968. Wells, Stanley. "William Shakespeare." British Writers, Vol. I. New York: Charles Scribner's Sons, 1979.
One main cause for Gregor being trapped is his obligation to his family. His financial obligation alone is enough to put a great amount of pressure on him. His job and his secret plan to put his sister through school also place a demand on him. Gregor is solely responsible for repaying his parents’ old debts. The weight this puts on him is demonstrated when he says, Well, I haven’t given up hope completely; once I’ve gotten the money together to pay off my parents’ debt to him-that will probably take another five or six years-I’m going to do it without fail(Kafka 4). Even after discovering he has turned into a bug he still feels his obligation to his family.
Many people often meet different characters in literature and in life that they admire or despise. They conclude if those characters are good or evil and at the same time they reflect on the choices and responsibilities that those characters have. From The Chocolate War I admire Roland Goubert or The Goober based on his actions. I despise Archie Costello (The Assigner of The Vigils) because of the choices that he made and also because of his actions.
In Kate Chopin’s “The Storm”, sin happens to make a bond stronger than before. The story illustrates a couple who seems to be similar to the nature surrounding them. Both Calixta and Bobinôt happen to be going through a stormy period in their marriage. Although they are going through this turbulent period, Bobinôt’s actions display his imperfect but unconditional love for his wife. Bobinôt may not be the husband Calixta dreams of but throughout the story he illustrates that it does not matter what happens, the storm will pass and he will love her no matter what.
(Essay intro) In the modern day, women have the luxury of belonging to themselves but unfortunately this was not always the case. During his life, William Shakespeare created many positive female characters who defied the traditional gender roles and brought attention to the misogynistic patriarchy of Elizabethan England. One of these true feminist icons is ‘Much Ado about Nothing’s. Beatrice. The women in ‘Much Ado about Nothing’ defy traditional gender roles. Beatrice represents a brave and outspoken woman who defies the oppressive, traditional gender roles for the female sex. Her cousin Hero, however, represents those women who were successfully oppressed by the patriarchy and accepted the traditional gender roles without much complaint.
In Nathaniel Hawthorne’s, The Scarlet Letter, the author uses three scaffold scenes to mark the development of Hester Prynne. The image of Hester atop the scaffolding is a metaphor for her forced solitude; for her banishment from society; and for the futility of her punishment. In the first scene, Hawthorne uses the scaffold to explain how Hester can not believe that the “A'; and the baby are real. In the second scaffold scene, Hawthorne tries to convey to the reader that Hester has fully repented for her sin, however this is not true. In the final scaffold scene, Hester does not yet fully repent for her sin because her love for Dimmesdale is still strong. Through Hester, Hawthorne is trying to communicate to the reader that it difficult for Hester to repent the sin of adultery.
The idea that “Humankind is disconnected from reality,” is set in stone by Kafka when he writes about the transformation of Gregor’s families’ lives, and his own. The Samsa’s treated Gregor simply as a means to get out of debt, although the reader comes to realize later that the family was not as bad off as Gregor had believed. Also, the father returns back to work after Gregor cannot, which proves that his disability not nearly as severe as he had Gregor believed. Although Gregor is the family member that turns into a bug, he remains the only one of them to retain humanity. The family cannot grasp that the bug in the bedroom is Gregor, their son and brother. They disconnect themselves from him, forgetting that they have known him his entire life, and once perhaps loved him. After his metamorphosis, Gregor became the member of the family in need, yet instead of helping him, as he helped them, Gregor became a burden to the family. The family, especially the father and mother do not make an attempt...
Clark, W. G. and Wright, W. Aldis , ed. The Complete Works of William Shakespeare. Vol. 1. New York: Nelson-Doubleday
Shakespeare, William. The Norton Shakespeare. Edited Stephen Greenblatt et al. New York: W. W. Norton & Company, 1997.
The Hound of the Baskervilles is one of Arthur Conan Doyle 's most famous works. The novel is the prime example of a Gothic Detective Story. Written during the first year of the 20th Century, the novel is a reflection of the concerns and issues that were prevalent at the time. The novel incorporates beliefs that were widely popular, including atavism and criminality. Although the novel is viewed as just another addition to the Sherlock Holmes canon, there are deeper philosophical conflicts that reflect the time period in which the novel was written.
Shakespeare makes sure that Beatrice comes off as a woman who is not afraid to speak her mind to anyone. This is portrayed in the beginning of act one, when the mail messenger comes to announce that the soldiers are on their way to Messina. They start a conversation about Benedick and he tells Beatrice that Benedick is a "lord to a lord, a ...
Shakespeare, William. As You Like It. Comp. Folger Shakespeare Library. New York, NY: Simon & Schuster Paperbacks, 2009. Print.
Shakespeare, William. As You Like It. The Norton Shakespeare. Ed. Stephen Greenblatt. New York: W.W. Norton Company, 1997.
Her disguise as a man gives her power, and she uses it to control others in the play, such as Orlando and Phoebe. She is able to experience freedom to speak to Orlando and other characters in ways she would not have as a woman. Her disguise as a beautiful boy also enables her to deceive the other characters in the forest and control the situations of those around her, as she attracts the attention of male and female characters alike. Rosalind displays many masculine qualities in her ability to put her fate into her own hands. Jean E. Howard describes the expectations for women in Shakespeare’s time: “Preachers enjoined women to be chaste, silent, and obedient, and forbade them to wear the clothes of the opposite sex.” In this way, Rosalind is rebellious of the constricts set for her as a women, and feels liberated in her male disguise. This contrasts her cousin and friend Celia, who chooses to disguise herself as a poor women. She demonstrates the passiveness that women were expected to display in this time period, as she takes the disguise of a female who would require male assistance. She continues to display feminine qualities as she relies on her cousin, and decides to follow her into the forest rather than be on her own. Rosalind still demonstrates some feminine qualities as she