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Mary, Eve, and Lilith in King Lear, Othello, and Macbeth Feminist criticism often explores the symbolic or archetypal use of the Biblical figures of Mary and Eve in literary criticism. One figure which seems appropriate to such discussions, but so far neglected it seems, is the figure of Lilith. Indeed, in the case of Shakespearean criticism, Lilith seems an appropriate model at times for such characters as Goneril, Regan, Lady Macbeth, and so forth. Accordingly, it is my intention to explore this lost archetype and relate it to three of Shakespeare's tragedies: King Lear, Othello, and Macbeth. To begin, Lilith is an enigma in many circles, with varying tales and legends ascribed to her. In certain aspects of Jewish folklore, Lilith is believed to have been the original wife of Adam who was exiled from Eden and replaced with the better known Eve because she refused to submit to Adam's male authority (Grolier "Lilith"). According to one version, she slept with Adam after the Fall and birthed evil spirits and also supposedly the devil and birthed the jinn (Arabic demons of legend, sometimes ascribed as being genies). Later in legend, she became identified as a succubus who caused "nocturnal emissions [associated with "wet dreams in men"] and the birth of witches and demons called lilim." Charms were created to protect from her influence and she was believed to have stolen and slain children (Grolier "Lilith"). She is mentioned in the Talmud in several places. Among these references include: Rabbi Jerimia ben Eleazar further stated: "In those years, after his expulsion from the Garden of Eden, in which Adam...,was under the ban, he begot ghosts and male demons and fema... ... middle of paper ... ... Rev. ed. Baltimore: Penguin, 1969. 1021-1057. Smith, Jeffrey. "Lilit, Malkah ha-Shadia." Babalon-1. Online. Internet. 25 Apr. 1996. Available Address: http://lark.cc.ukans.edu/~rrosen/lilith/lilit.html [Link no longer active] "The Story of Lilith." Alphabet of Ben Sira 23A-B. Ed. Michael Abrahams. Online. Internet. 25 Apr. 1996. Available Address: http://www.ed.ac.uk/~p92002/lilith.html [Link no longer active] Vanita, Ruth. "'Proper' men and 'fallen' women: the unprotectedness of wives in 'Othello.'" Studies in English Literature, 1500-1900 Spring 1994: 341-356. InfoTrac EF Expanded Academic ASAP 1993-April 1996. CD-ROM. Information Access. April 1996. Zender, Karl F. "The humiliation of Iago." Studies in English Literature, 1500-1900 Spring 1994: 323-339. InfoTrac EF Expanded Academic ASAP 1993-April 1996. CD-ROM. Information Access. April 1996.
Lindemans, Micha F. "Diana." Encyclopedia Mythica: Mythology, Folklore, and Religion. 3 Mar. 1997. Web. 8 Oct. 2011. .
Annemaire de Waal Malefijt, “Religion and Culture An Introduction to Anthropology of Religion” The United States of America 1989
Pessoni, Michele. “‘She was laughing at their God.’: Discovering the Goddess Within Sula.” African American Review 29 (1995): 439-451.
Neely, Carol. "Women and Men in Othello" Critical Essays on Shakespeare's Othello. Ed. Anthony G. Barthelemy Pub. Macmillan New York, NY 1994. (page 68-90)
The first form of power that is revealed to the reader is that of female Mesopotamian gods. Aruru is the goddess of birth (95). Without her loving, delicate craft of creation, there
In modern day society, female gender roles are defined in several of forms; ranging from the stereotypical concept of women being primary caretakers to women being the dominant sex. After analyzing two sources of past literature, two iconic women represent personas of both social standings. In the literary works “Genesis” of The Hebrew Bible; along with, “Lysistrata” by Aristophanes, impactful phenomenons take place in the era of these women.
Scholz, S. (2014). Feminist Scholarship on the Old Testament: Introduction. Available: http://www.oxfordbibliographies.com/view/document/obo-9780195393361/obo-9780195393361-0020.xml. Last accessed 19th March 2014.
Emilia, one of only three female characters in Shakespeare’s Othello, plays a vital role both thematically and in the advancement of the play’s plot. Although her blind loyalty to her husband turns the wheels of this tragedy, it is not a static quality throughout it. When examining the gender roles in the world of this play, the change in Emilia’s allegiances, which determine her actions, reveals the divergence between duty and integrity for women. Throughout most of the play, Emilia is loyal to a fault. She remains subservient to Iago until her duty to him causes her to betray the one she has to her friend and mistress, Desdemona. After becoming cognizant of her involvement in Iago’s villainy, Emilia abandons all loyalty she previously held to patriarchal forces and is motivated exclusively by morality and dedication to Desdemona.
Much like "Lady Lilith," "Lilith" celebrates the pleasures of physicality. As an enchantress, she "draws men to watch the bright web she can weave," but she does not invite them to be mere voyeurs of her charms (line 7). Instead, she invites them to her and then ensnares them in her "web" of physical beauty, ultimately causing their death (line 8).
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.
In Shakespeare’s play Othello, the male characters perceive women as adulterous and property, treating them as inferior that need to be submissive and obey. Iago creates a false perception of his wife thinking she is promiscuous. Also, Othello sees his wife as promiscuous, an impression created by his jealousy and one he has convinced himself of it. Furthermore, Iago and Othello perceive their wives as inferior, and by his words, the reader can see that they are both their wife and subordinate. At last, the male characters refer to Desdemona’s marriage as a “steal” and “purchase” of property, then, Iago and Othello end their wives’ lives because they see them as possessions of no good.
Each of the poem 's quatrains advances the poet 's complaint. In the first line of the first quatrain the poet expresses his sense of failure as "in disgrace with fortune and men 's eyes."(Wart, 1). Shakespeare 's use of the sonnet form, especially in "Sonnet 29," allows him to
Since the very beginning of time, women had been put into a specific position where they could not simply escape. Especially religious attempts to “categorize” or match them into a certain classification has a long tradition. Elaine T. Lawless explains in her work that the biblical story
James I was born on June 19th. In 1566 he because the king of England
Sonnets have existed as a change of pace and challenge for writers since their first appearance during the Renaissance. Unlike many other forms of poetry and prose, sonnets function with a specific formula. With strict rules about the amount of lines, and the need for complete adherence to specific patterns, it is no surprise that it takes a skilled writer to create an enjoyable and structurally correct sonnet. While there is no straying from the path in the actual building blocks of sonnets, the content is a different story. Since sonnets often have the theme of romantic love, differences between them show through the unique relationships between the lovers. Specifically, in the sonnets of Shakespeare, Spenser, and Pollitt, we see a happy relationship, one full of recognized