The presence of the maternal figure, in Shakespeare’s play King Lear, though rather absent, is often presented in a negative light and portrayed as being completely powerless whenever mentioned, which compared to the male power and authority present in the play. The unfavourable portrayal of women reveals the distrust men may feel towards women due to the uncertainty they may feel towards their children’s parentage.
Women’s low social status is evident in the play, and irony is employed to exhibit the disparagement the society feels towards women’s gender roles. Goneril insulted her husband’s reluctance to direct his military forces and gain more power for himself by saying that he has “milky gentleness” (1.4.364), and that she should “give
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The distrust is evident in the play, as, many instances of questioning of the child’s parentage occurred. When Goneril threatens to dismiss Lear’s knights, Lear asks her, “Are you our daughter?” (1.4.224) Lear cannot believe that his own daughter is asking him to tolerate this indignity, and attributes that only someone else’s child would treat him so, doubting his wife’s faithfulness to his marriage. Gloucester also claims to have “never got [Edgar]” (2.1.91) as he is convinced that Edgar is plotting to murder him. He accuses his wife of infidelity as he also presumes that a child he fathered would not want to commit such an aberrant offence against him. When Regan meets Lear at Gloucester’s castle Lear tell her that if she were not glad to see him, he would “divorce [himself] from [Regan’s] mother’s tomb” (2.4.147) as that would be “sepulch’ring an adult’ress” (2.4.149). Lear is saying that if Regan is not glad to see him, she would not be his child and therefore, his wife would be an adulteress. Lear and Gloucester both assume that no impertinence would spring from their own children, and that any misconduct from their supposed children are due to the lack of blood bond between the father and the child. Since, in the time of the play, a mother is the only person who knows who actually fathered her child, whereas men can never ascertain the true heritage of their children, Lear and Gloucester’s blaming their children’s impropriety on their mother’s faithfulness clearly exhibit their distrust for
From ancient empires to the inheritance of simple family farms, the passing down of kingships and property has depended on patrilinearity. Maternity is essential to maintain this patrilineage. In Macbeth, Shakespeare vilifies Lady Macbeth as the anti-mother because she rejects patrilineal expectations. By both vilifying her maternal agency and using Lady MacDuff as a foil to Lady Macbeth’s anti-maternal attitudes, Shakespeare endorses traditional maternal values of Early Modern England.
“It is a wise father that knows his own child” stated by William Shakespeare, a poet, which suggests that a good parent must have a connection with their child. However, Shakespeare lacked parental affection, the plays that Shakespeare had written, never had a well established relationship between a parent and their child. However the correlation between a parent and child may vary in many occasions and factors such as a healthy/unhealthy relationship, a tempting desire for self success, and a change of heart. Therefore, through an analysis of Jeannette Wall’s The Glass Castle, William Shakespeare’s King Lear, Tennessee William’s The Glass Menagerie, and Martin Fan’s bond with His parents, it becomes clear that the establishments between a
“Born of a Woman: Fantasies of Maternal Power in Macbeth”. Shakespeare. Online Detroit: Gale, 2003.Student Resource Center- Gold. Gale. Ozen High School. 12 Jan 2010. http://find.galegroup.com
Judith Butler’s concept of gender performativity suggests that there is a distinction between “sex, as a biological facticity, and gender, as the cultural interpretation or signification of that facticity” (Butler, 522). Performing certain actions that society associates with a specific gender marks you as that gender. In this way, gender is socially constructed. Alfar defines the societal expectation of women as the “constant and unquestioning feminine compliance with the desires of the masculine” (114). Considering Macbeth from a modern perspective and taking this distinction into account, it is necessary to determine if the play is concerned with sex or with gender. Before the action of the play even begins, the audience is warned that “Fair is foul, and foul is fair” (1.1.11). The first scene of the play casts the world of Macbeth as a land where everything is opposite or disordered. This line at the very start of the play cautions audiences to not take the play at face value because things are not always as they appear to be. Because of this, “all the binaries become complicated, divisions blurred. Thus the binary nature of gender identities, male/female, is eliminated” (Reaves 14). In the world of Macbeth, the typical gender constructions are manipulated and atypical. If the play does not deal with sex, the qualities of Lady Macbeth cannot be applied to all women but rather, representative of society’s construction of gender, “the patriarch, and the limited, restrictive roles of women” (Reaves 11). Within this reading of Lady Macbeth, Shakespeare’s examination and questioning of gender construction allows modern day readers to recognize the enduring relevance of
It tainted his familial bonds and gave him a sense of determination to escape society’s value of him. The notion of bastardy drives this aspect of the plot and is the single most important idea when looking into the phenomenon of cruelty between Edmund and Gloucester in King Lear. Edmund’s story is tragic because there is no resolution for his biggest grievance apart from a larger paradigm shift, marking a change in society’s value of the bastard. It is safe to say that Edmund and Gloucester’s relationship was plagued by powers greater than themselves. Shakespeare elevates their relationship to start a dialogue about family and societal values—creating a deeply layered and tragic
Two powerful characters in the play, aging King Lear and the gullible Earl of Gloucester, both betrayed their children unintentionally. Firstly, characters are betrayed due to family assumption. Lear banished his youngest daughter Cordelia because he over estimated how much she loved him. When questioned by her father, she responds with, "I love your Majesty / According to my bond, no more nor less." (I,i, 94-95) Lear assumed that since Cordelia was his daughter, she had to love him in a certain way, but he took this new knowledge and banished her without further thought. Secondly, characters were betrayed because of class. Edmund, the first-born son in the Gloucester family, should have been his father's next of kin. He would have been able to take over the position of Earl upon his father's death if he did not hold the title of a legitimate bastard. In his first soliloquy he says, "Why Bastard? Wherefore base? / When my dimensions are as well compact/ my mind as generous, and my shape as true " (I,ii, 6-8) Edmund believes he is at least equal, if not more, to his father in body and in mind, but the title that his father regrettably gave to him still lingers. Lastly, characters were betrayed because of family trust. Gloucester trusted his son Edmund when he was told that his other son was trying to kill him. Upon reading the forged letter written by Edmund, he responded with, "O villain, villain! His very opinion in the letter! Go, sirrah, seek him." (I,ii,75-77) Gloucester inadvertently betrayed Edgar because he held so much trust in his one son that he was easily persuaded to lose all trust in his other one. These blind characters were unfortunately betrayed there children, but they did it unintentionally and will eventually see there wrong doings.
Shakespeare’s treatment of illegitimacy in the play King Lear can be interpreted in many ways depending on the audience. The situation of illegitimacy is portrayed through the relationships of the characters the Earl Of Gloucester and his two sons Edgar and Edmund. Edmund is the illegitimate son while Edgar was born within the law. We learn of Edmund’s illegitimacy in the opening scene in the first act where The Earl of Gloucester is holding a conversation with Kent while Edmund is nearby. Gloucester speaks flippantly and lightly of the way his illegitimate son came into the world while introducing him to Kent saying, “ Though this knave came something saucily into the world before he was sent for, yet his mother was fair, there was good sport at his making, and the whoreson must be acknowledged” (Act I, Scene I, Lines 19-24). There are several peculiar things about this dialogue. One of the interesting aspects of Gloucester and Kent’s discussion is the readiness of Gloucester to admit he has fathered a child out of wedlock. This may be influenced by the fact that Edmund had obviously grown into a son that a father would be proud to have. At first meeting he seems polite, courteous, and loyal. Perhaps these admirable character traits are cause for Gloucester’s willingness to publicly claim Edmund as his own. Another unusual occurrence in the opening dialogue is that Gloucester calls Edmund a whoreson and a knave while he is close by and probably in hearing distance. This seems odd because Gloucester professes to feel only love for his son and no shame but he seems to almost mock him in this situation. One explanation for this behavior may be that deep down Gloucester still harbors some discomfort about the relationship between himself and his son despite his verbal proclamations of shamelessness. This could be inferred from Gloucester’s statement, “ His breeding, sir, hath been at my charge. I have so often blushed to acknowledge him that now I am brazed to ‘t.” (Act I, Scene I, Line 9). Again, depending on the audience the attitudes displayed in the play by the characters and Shakespeare himself by his writing can be interpreted in a variety of ways depending on the observer.
Inequalities between men and women are one of the most persistent patterns in the distribution of power. Often what it means to be a ‘woman’ is to be powerless, quiet, obedient and compliant, whereas to be a ‘man’ in contrast, is to be powerful, outspoken and in control. These gender roles tend to perpetuate the power inequalities that they are based on. Throughout the play of Macbeth, written by William Shakespeare, many character’s relationships to power is affected by their gender. However, these relationships challenge the typical gender roles seen in society. Arguably, this reflects many of the dominant female characters. So, are gender and power ultimately linked? ‘Gender’ is one of the main causes, consequences and manifestations of
The portrayal of gender roles in William Shakespeare’s play Othello, demonstrates the inferior treatment of women and the certain stereotypes of men placed on them by society. Both the male and female characters in the play have these certain gender expectations placed on them. In a society dominated by men, it is understood that the women are to be seen rather than heard. The women are referred to and treated much like property. If indeed they do speak up, they are quickly silenced. One woman’s attempt to be the perfect wife is what ultimately led to her demise. The expectations of men are equally stereotypical. Men are to be leaders and to be in control and dominant especially over the women. The male characters compete for position and use the female characters in the play as leverage to manipulate each other. Shakespeare provides insight in understanding the outcomes of the men and women who are faced with the pressures of trying to live up to society’s expectations, not only in the workplace, but also in the home. The pressure creates jealousy issues amongst the men and they become blind to the voice of reason and are overtaken by jealous rage, leads to the death of many of the characters.
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.
Hatred and desire fueled Goneril, Regan, and Edmund to lie in order to obtain their parents’ power leading to destruction within their family. Edmund’s hatred was continued by the reminder that he was only the bastard son of Gloucester driving him to lie to both of them ultimately ruining his father’s eyesight and his brother’s identity. Goneril and Regan got rid of their father while retained his power by lying about who loved him the most and took away his knights. From King Lear, Shakespeare concluded that greed and power are capable of ruining a family.
Throughout the length of Shakespeare’s tragedy Othello there is a steady undercurrent of sexism. It is originating from not one, but rather various male characters in the play, who manifest prejudicial, discriminatory attitudes toward women.
The feminism of Shakespeare’s time is still largely unrecognized. Drama from the 1590’s to the mid-1600’s is feminist in sympathy. The author
Lear's relationship with his three daughters, Goneril, Regan and Cordelia, is, from the beginning, very uncharacteristic of the typical father-daughter relationship. It's clear that the king is more interested in words than true feelings, as he begins by asking which of his daughters loves him most. Goneril and Regan's answers are descriptive and sound somewhat phony, but Lear is flattered by them. Cordelia's response of nothing is honest; but her father misunderstands the plea and banishes her. Lear's basic flaw at the beginning of the play is that he values appearances above reality. He wants to be treated as a king and to enjoy the title, but he doesn't want to fulfill a king's obligations. Similarly, his test of his daughters demonstrates that he values a flattering public display of love over real love. He doesn't ask "which of you doth love us most," but rather, "which of you shall we say doth love us most?" (I.i.49). It would be simple to conclude that Lear is simply blind to the truth, but Cordelia is already his favorite daughter at the beginning of the play, so presumably he knows that she loves him the most. Nevertheless, Lear values Goneril and Regan's fawning over Cordelia's sincere sense of filial duty.
Shakespeare’s character Gloucester has two sons, Edmund and Edgar. Edmund is the illegitimate son, the result of Gloucester’s affair with his mother. Gloucester doesn’t let this idea rest, as even when he introduces his bastard son to Kent at the beginning of the play it’s mentioned. “Though this knave came something saucily to the world before he was sent for, yet was his mother fair, there was good sport at his making, and the whoreson must be acknowledged” (I.I.21-24). Gloucester openly denotes Edmund and puts him in his place as illegitimate and unfitting to take his crown. Edgar, however, is the more beloved son, and is the next in line to receive the father’s land and power. This battle between legitimacy and illegitimacy is difficult, because other than the fact that Gloucester is married to Edgar’s mother, the two boys are considered moderately equal. Edmund argue...