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How have women changed in literature
Historical perspectives about women
Portrayal of women in literature
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One of the first stories presented by Herodotus in the Histories features a powerful female character and her character plays a crucial role in the story of Candaules and Gyges. In this story, Candaules acts wrongly in two manners. First, he “conceived a passion for his own wife” (1.8). Second, he forced his bodyguard, Gyges, to see his wife (who remains nameless) naked. When sneaking a peak at the queen, however, Gyges does not go unnoticed. The queen, feeling ashamed, for “with the Lydians…it is thought highly indecent even for a man to be seen naked,” devised a plan for revenge upon her husband (1.10). She manipulates Gyges and gives him an ultimatum: he can either kill Candaules and take over the throne, or kill himself. Gyges decides that …show more content…
While Xerxes was in Sardis, he fell in love with his brother’s wife. After many failed attempts to seduce Masistes’ wife, Xerxes decided that the best way to get her would be to marry his son to their daughter. However, after the marriage took place, Xerxes “forgot the mother and transferred his affections to the daughter” (9.108). Xerxes managed to seduce Artaynte, and was very pleased with her, so he told Artaynte that she could have anything she fancied. When she requested the robe that Xerxes’ wife, Amestris, had made for him, he is forced to give it to her, though he tried to dissuade her. Amestris found out about this and became livid, directing her anger towards Masistes’ wife, whom she deemed responsible, and “consequently plotted her destruction” (9.110). As revenge, Amestris had the breasts, nose, ears, lips, and tongue cut off of Masistes’ wife. In response, Masistes began planning a revolt against Xerxes, but Xerxes “discovered his purpose and sent an armed force in pursuit, which…killed him together with his sons” (9.113). Xerxes’ inability to keep it in his pants ultimately resulted in the destruction of brothers’ entire …show more content…
In the article Persian Gender Relations as Historical Motives in Herodotus, Boedeker claims that in the Histories, love is a madness only experienced by men. She then states that Herodotus uses eros nine times and “each time the erotic impulse is associated with a king or tyrant, is wrongly directed, and has disastrous, usually large-scale, consequences” (Boedeker 2011: 231). Some examples of this seen in the stories of Canduales and Gyges, Xerxes and Artaynte, and Cambyses. In the case of Candaules, the consequence was his own death and the loss of the Heraclid’s power. As for Xerxes, there are multiple consequences for his “madness;” one consequence is the mutilation of Masistes’ wife and another is the eventual destruction of his empire. Lastly, Cambyses went “completely out of his mind” (3.38). This argument by Boedeker makes the men in these stories responsible for their own demise; however, Heleen Sancisi-Weerdenburg makes the point that Artaynte’s “adventure is frequently used to demonstrate the weakness of Xerxes’ character,” and the same can be said for the other female characters in relation to Candaules and Cambyses (Sancisi-Weerdenburg 1983: 27). The use of female characters as a way to demonstrate the weakness of their male counterparts shows that the
In this essay I will examine the war-of the-sexes taking place in The Eumenides, the final play of The Oresteia. The plot of The Eumenides pits Orestes and Apollo (representing the male gods and, to a certain extent, male values in general) against the ghost of Clytemnestra and the Furies (equally representative of female values.) Of more vital importance, however, is whether Athene sides with the males or females throughout the play.
Women are often treated as tools to accomplish men’s goals because of this authority and are seen as beings who cannot live without the support of men. In The Odyssey, Penelope, Telemachus’ mother, is used by Telemachus to show his authority as the man of the house by sending her away to her room by his “masterful words” (Homer 186). By doing so he is also warning the suitors who have come to take advantage of the xenia he and his mother provided to them. While Penelope is strong by refusing the passes of the suitors, she maintains the vulnerable image by weeping for Odysseus who has been gone for ten years (Weimer 1). In The Epic of Gilgamesh, Shamhat the Harlot is used as a tool to seduce Enkidu, Gilgamesh’s male partner and friend. Ninsun’s reaction to Enkidu brings to attention to her worries of Gilgamesh being taken away from her, showing that relationships between men were held in much higher regard than mother and son relationship (“The Epic Of” 51-52). Men are depicted more powerful than women thus leading to supporting women, especially those they are related to.
This paper will discuss the well published work of, Pomeroy, Sarah B. Goddesses, Whores, Wives, and Slaves: Women in Classical Antiquity. New York: Schocken, 1975. Print. Sarah B. Pomerory uses this book to educate others about the role women have played throughout ancient history. Pomerory uses a timeline to go through each role, starting with mythological women, who were called Goddesses. She then talks about some common roles, the whores, wives, and slaves during this time. Pomerory enlightens the audience on the topic of women, who were seen as nothing at the time. Men were seen as the only crucial part in history; however, Pomerory’s focus on women portrays the era in a new light.
Over the course of time, the roles of men and women have changed dramatically. As women have increasingly gained more social recognition, they have also earned more significant roles in society. This change is clearly reflected in many works of literature, one of the most representative of which is Plautus's 191 B.C. drama Pseudolus, in which we meet the prostitute Phoenicium. Although the motivation behind nearly every action in the play, she is glimpsed only briefly, never speaks directly, and earns little respect from the male characters surrounding her, a situation that roughly parallels a woman's role in Roman society of that period. Women of the time, in other words, were to be seen and not heard. Their sole purpose was to please or to benefit men. As time passed, though, women earned more responsibility, allowing them to become stronger and hold more influence. The women who inspired Lope de Vega's early seventeenth-century drama Fuente Ovejuna, for instance, rose up against not only the male officials of their tiny village, but the cruel (male) dictator busy oppressing so much of Spain as a whole. The roles women play in literature have evolved correspondingly, and, by comparing The Epic of Gilgamesh, Sir Gawain and the Green Knight, and The Wife of Bath's Prologue, we can see that fictional women have just as increasingly as their real-word counterparts used gender differences as weapons against men.
Yet, despite the fact that no two women in this epic are alike, each—through her vices or virtues—helps to delineate the role of the ideal woman. Below, we will show the importance of Circe, Calypso, Nausicaa, Clytaemestra, and Penelope in terms of the movement of the narrative and in defining social roles for the Ancient Greeks. Before we delve into the traits of individual characters, it is important to understand certain assumptions about women that prevailed in the Homeric Age. By modern standards, the Ancient Greeks would be considered a rabidly misogynistic culture. Indeed, the notoriously sour Boetian playwright Hesiod-- who wrote about fifty years before Homer-- proclaimed "Zeus who thunders on high made women to be evil to mortal men, with a nature to do evil (Theogony 600).
Eupriedes, Medea and Sappho’s writing focus on women to expose the relationships between a variety of themes and the general ideal that women are property. The main characters in both pieces of literature demonstrate similar situations where love and sex result in a serious troll. These themes affected their relationship with themselves and others, as well as, incapability to make decisions which even today in society still affects humans. Headstrong actions made on their conquest for everlasting love connects to sacrifices they made to achieve their goal which ultimately ended in pain. Love and sex interferes with development of human emotions and character throughout the course
In The Bacchae, I believe that Euripides uses the relationship of male and female to explore the alluring concept of feminine empowerment in a patriarchal society and to demonstrate the cost this empowerment subsequently has on ordered civilization. In this paper, I will argue that Euripides uses the conflictual relation between the genders to criticize the role of women in Greek society while also showing the consequences of a total feminine revolt. Through developing this conflict, Euripides is demonstrating how the path to the most successful civilization is through a balance of masculine rationality and feminine emotional freedom. I will prove this by analyzing the positions of Pentheus, the Bacchants, and Dionysus throughout the play. The character Pentheus
Here, Herodotus accounts the story of Candaules’s fond passion for his wife’s beauty, thinking her the “fairest women in the whole world” and he wants to show off his wife to his trusted bodyguard. Herodotus explains how Candaules has respect for the beauty of his wife, but does not respect any of her wishes or desires upon showing herself to a stranger bodyguard.
In conclusion, it becomes obvious by these three plays that for a woman to achieve kleos in ancient Greece, she usually had to become more man-like in her role. The murders committed by Electra and Medea, the bravery of Antigone—all three of these were fulfilled by what would have normally been considered a man’s role. A woman could rarely be considered a hero unless she became like a man in her actions. Otherwise, she would be only a simple woman.
Medea and Lysistrata are two Greek literatures that depict the power which women are driven to achieve in an aim to defy gender inequality. In The Medea, Medea is battling against her husband Jason whom she hates. On the other hand, in Aristophanes' Lysistrata, the protagonist Lysistrata plotted to convince and organize the female gender to protest against the stubbornness of men. In terms of defining the purpose of these two literatures, it is apparent that Euripedes and Aristophanes created characters that demonstrate resistance against the domination of men in the society.
The society in which classical myths took place, the Greco-Roman society was a very patriarchal one. By taking a careful gander at female characters in Greco-Roman mythology one can see that the roles women played differ greatly from the roles they play today. The light that is cast upon females in classical myths shows us the views that society had about women at the time. In classical mythology women almost always play a certain type of character, that is to say the usual type of role that was always traditionally played by women in the past, the role of the domestic housewife who is in need of a man’s protection, women in myth also tended to have some unpleasant character traits such as vanity, a tendency to be deceitful, and a volatile personality. If one compares the type of roles that ladies played in the myths with the ones they play in today’s society the differences become glaringly obvious whilst the similarities seem to dwindle down. Clearly, and certainly fortunately, society’s views on women today have greatly changed.
The first major female character introduced in this epic is Penelope. Penelope is the wife of Odysseus, and the mother of Telemachus. She is portrayed as a strong-willed widow, who even after not seeing Odysseus for twenty years, keeps her trust in her husband to return home. The main tool is the rule of law, but even before laws customs could be used” (rwaag.org).
Although ancient Greece was a male-dominate society, Sophocles' work Antigone, portrays women as being strong and capable of making wise decisions. In this famous tragedy, Sophocles uses the characters Ismene and Antigone to show the different characteristics and roles that woman are typical of interpreting. Traditionally women are characterized as weak and subordinate and Ismene is portrayed in this way. Through the character of Antigone, women finally get to present realistic viewpoints about their character.
Women were often subjects of intense focus in ancient literary works. In Sarah Pomeroy’s introduction of her text Goddesses, Whores, Wives, and Slaves, she writes, “Women pervade nearly every genre of classical literature, yet often the bias of the author distorts the information” (x). It is evident in literature that the social roles of women were more restricted than the roles of men. And since the majority of early literature was written by men, misogyny tends to taint much of it. The female characters are usually given negative traits of deception, temptation, selfishness, and seduction. Women were controlled, contained, and exploited. In early literature, women are seen as objects of possession, forces deadly to men, cunning, passive, shameful, and often less honorable than men. Literature reflects the societal beliefs and attitudes of an era and the consistency of these beliefs and attitudes toward women and the roles women play has endured through the centuries in literature. Women begin at a disadvantage according to these societal definitions. In a world run by competing men, women were viewed as property—prizes of contests, booty of battle and the more power men had over these possessions the more prestigious the man. When reading ancient literature one finds that women are often not only prizes, but they were responsible for luring or seducing men into damnation by using their feminine traits.
In the plays female sexuality is not expressed variously through courtship, pregnancy, childbearing, and remarriage, as it is in the period. Instead it is narrowly defined and contained by the conventions of Petrarchan love and cuckoldry. The first idealizes women as a catalyst to male virtue, insisting on their absolute purity. The second fears and mistrusts them for their (usually fantasized) infidelity, an infidelity that requires their actual or temporary elimination from the world of men, which then re-forms [sic] itself around the certainty of men’s shared victimization (Neely 127).