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Women's role in greek literature
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Feminism in Antigone and Othello
Feminism has been one of the most important forces in shaping our modern-day society. Thanks to the women's rights movement, females today enjoy rights and freedoms that are unprecedented in the history of Western civilization. However, it was not always this way. Whereas modern literature that contains feminist messages barely gets a second thought, readers in our time are intrigued and impressed by feminist works coming from a decidedly male-biased past. Two of the greatest works of Western literature, Antigone and Othello, written by the two great dramatists Sophocles and Shakespeare, have been said to illustrate feminist ideals in the "distant" past. Antigone, which embodies these ideals throughout and is primarily concerned with the inequity of gender roles, is such a play. Othello, while it contains occasional feminist sentiment, still keeps its women in conventional female roles and thus is not a feminist work.
In order to determine if these plays are feminist, we first require a working definition of the term. This alone is rather complicated, because the word itself is popularly used and misused in many different ways. In its simplest form, feminist doctrine states that women and men are equal and deserve the same rights and privileges. This, although widely accepted in our time, was not in the past. However, feminism also has been seen as the belief that men are the inferior sex, a belief that might more accurately be termed "anti-masculinism". This belief has never been widely espoused in Western society, and probably never will be. It can also be said that "feminism" is any belief or idea that is meant to improve the well-being and social standing of females: for ex...
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...e does not, and this is seen clearly in the play. We are driven to sympathize with Antigone, and we see that she finds a way to be powerful that does not fit in with the classical male-driven power structure. She is also powerful in the structure of the play: she is its most well developed character and the play takes its title from her name. Finally, Sophocles shows us that feminism works, at least in Antigone's case: she gets what she wants. Unfortunately, this happens to be death, but her attempts at power still get her what she desires.
Works Cited
Shakespeare, William. Othello. Ed. Barbara A. Mowat, Paul Werstine. New York: Washington Square Press, 1993.
Sophocles. Antigone. The Theban Plays. Ed. and trans. E. F. Watling. London: Penguin Group, 1947: 126-162.
Watling, E. F. "Introduction." The Theban Plays. London: Penguin Group, 1947: 7-22.
Shakespeare, William. Othello. Ed. Barbara A. Mowat and Paul Werstine. New York: Simon & Schuster Paperbacks, 2009. Print
In Poetics, Aristotle explains tragedy as a kind of imitation of a certain magnitude, using direct action instead of narration to achieve its desired affect. It is of an extremely serious nature. Tragedy is also complete, with a structure that unifies all of its parts. It is meant to produce a catharsis of the audience, meant to produce the emotions of pity and fear and to purge them of these emotions and helping them better understand the ways of the gods and men. Tragedy is also in a language in both verse and song. Aristotle's definition is clearly applicable to both Herman Melville's Billy Budd and the famous Greek tragedy Antigone by Sophocles.
Shakespeare, William. Othello. Ed. Barbara A. Mowat and Paul Werstine. New York: Simon & Schuster Paperbacks, 2009. Print
One of the conflicts in Antigone, is the struggle between men and women. Ismene tells Antigone that since birth, women “were not born to contend with men,” (75) displaying women’s obedience and passivity. In the same passage, Ismene says: “we’re underlings, ruled by stronger hands,” (76) a representation of men’s aggressive and “stronger hands” that dominate women and treats them as second-class citizens. The only woman in Thebes who desires to break free from these chains is Antigone, who stands up against Ismene’s passivity urging her to “submit to this,” (77) and defy Creon by burying Polynices. By breaking Creon’s edict, Antigone challenges the traditional gender roles women and men play. In what ways does the theme of gender in Antigone, demonstrate the passion and choices behind Antigone and Ismene’s decisions?
Oedipus’s persistence is seen even from the beginning of Oedipus Rex. “The first instance in which [it] is revealed is when he first encounters Teiresias, a seer who refuses to divulge the truth he admits to knowing.” Teiresias begs to Oedipus, “let me go home” . “However, Oedipus doesn't want anything withheld from him, and he gradually becomes more heated in his wheedling…” Teiresias even plainly states Oedipus’s flaw, “Why persist in asking? You will not persuade me.” Despite this comment, eventually “the prophet spits out the truth in disgust, and, cursing, takes his leave.” This is the first case in which Oedipus’s persistence causes him trouble.
The sexist stereotypes presented in this tragedy address many perspectives of men at this time. Creon the arrogant and tyrant leader is, the very character that exemplifies this viewpoint. Antigone's spirit is filled with bravery, passion and fury; which allow her to symbolize the very essence of women. She is strong enough to do what her conscious tells her despite the laws of the land. Many examples in the play prove that Antigone's character is very capable of making her own decisions in the name of justice. First, Antigone opposes Creon's law and buries her slain brother; because in her mind it was immoral not to. She does this because she is compassionate and loves her brother very much. Creon, however, believes that his laws must be upheld and would do anything to prevent any type rebelling. He is even more infuriated when he learns that a woman has broken his laws. He tries to show Antigone who's in charge by sentencing her to a life of imprisonment. Secondly, Antigone shows how determined she is by accepting her consequences with pride. She does not try to hide that she is responsible for breaking Creon's laws, moreover, she takes all the credit. All the while she maintains her strength because she truly believes in her actions. These sorts of actions ultimately prove that Antigone is courageous and willing to stand up to men, which was completely against the norm at this time. Her spirit refuses to submit to the role of a helpless woman like her sister Ismene's character does.
During the Elizabethan era women had a status of subordination towards men. They had a role to marry and oblige to their husband’s wishes. Shakespearean literature, especially illustrates how a woman is psychologically and physically lesser to their male counterpart. The play, Othello, uses that aspect in many different ways. From a Feminist lens others are able to vividly examine how women were subjected to blatant inferiority. Being displayed as tools for men to abuse, women were characterized as possessions and submissive; only during the last portion of the play did the power of women take heed.
Shakespeare, William. "Othello". The Norton Shakespeare. Ed. Stephen Greenblatt. New York: W.W. Norton & Company, 1997.
In conclusion, we can see that feminist criticism can be applied better to certain texts than others. Henry James' The Turn of the Screw, I feel, somewhat contradicts feminist literary theory, simply due to the fact the James writes so convincingly as a woman. The governess shows both masculine and feminine attributes to her character while also displaying passive and active traits, which seems to be what feminist critics appreciate in the literary canon. Shakespeare's Othello, on the other hand, is a text ready for feminist damnation. Femininity in the text is measured against other male roles, for example, Desdemona's fate is largely in the hands of Othello.
Tragic events can happen as a result of accidents, misunderstandings, or specific situations, hence, they relate little to others. However, tragedy is rooted in the order of our universe because it reveals hypothetical situations that can occur at any time or place. This feeling of uncertainty arouses feelings of pity and fear because we can imagine ourselves having to face tragedy. In Aristotle's Poetics, Aristotle defines tragedy as, “a representation of an action of serious stature and complete, having magnitude, in language made pleasing in distinct forms in its separate parts, imitating people acting and not using narration, accomplishing by means of pity and fear the cleansing of these states of feeling” (Aristotle, 26). A dramatic composition that captures the true essence of suffering and awakens our senses is one that Aristotle would call a tragedy worthy of our praise. He notes, “It is clear first that decent men ought not to be shown changing from good to bad fortune (since this is neither frightening nor pitiable but repellent) and people of bad character ought not to be shown changing from bad to good fortune (since this is the most untragic thing of all, for it has none of the things a tragedy needs, since it neither arouses love for humanity nor is it pitiable or frightening)” (Aristotle, 36).
Oedipus displays an attitude of recklessness and disrespect throughout the play. When he makes his proclamation and no one confesses to the murder of Laius, Oedipus loses patience immediately and rushes into his curse. Later, he displays a short temper to Tiresias: "You, you scum of the earth . . . out with it, once and for all!," (ll. 381, 383) and "Enough! Such filth from him? Insufferable--what, still alive? Get out--faster, back where you came from--vanish!" (ll. 490-492)
The Dictionary defines a tragedy as “any literary composition, as a novel, dealing with a somber theme carried to a tragic conclusion”. I would have to expand to say that I believe a tragedy is more of a dignified style of writing that seriously expresses sorrowful or terrible events as they relate to the sometimes heroic individual (the protagonist) of a story. Tragedy as a whole seems to probe the role of mankind in the universe. It plays to the questions of humanity, such as will mankind forever be torn between the forces of good and evil? It also poses the question, is the cause of suffering outside of ourselves, as in fate, or in the evil designs of our enemies, or even the work of the gods? If not, then is it internal? Do we bring suffering upon ourselves through arrogance, self-preservation, or the tendency view ourselves with grandiose illusions?
In Aristotle's Poetics, it is stated that a tragedy must be complete - having a beginning, middle and end. Of equal importance "...the sequence of events, according to the law of probability or necessity, will admit of a change from bad fortune to good or from good fortune to bad."(Aristotle, 15).
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?
Oedipus had good intentions for his people and tries to save the city when death is at its doorstep even admitting that they mean more to him that is own life “I grieve for these, my people far more that I fear for my own life”(106-106). His determination to seek the truth and care for his people not only makes him an admirable man but respectable king. His quest for truth no matter