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Women in shakespearean play
Shakespearean era views on women
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A Feminist Perspective of Much Ado About Nothing Much Ado About Nothing, though a critically acclaimed play, seems to be truly a fuss of trivial details and sexist thinking. The title fits the play itself, in the sense that it is a case of a great amount of nothing, which perhaps can be assumed to be a mistake on William Shakespeare's part. The characters in the comedy are not realistic, and those that could have been were transformed throughout the course of events depicted. The most trouble with the play, however, seems to come from the representation of the female characters, particularly in comparison with the males. It seems almost that the female characters are written off, rather than merely written out. The male characters of the play are given higher roles, and their characters are followed more faithfully, further proving its chauvinistic composition. The title of the play even suggests a sexist nature in its possible Elizabethan reference to the female genitalia. The play seems to reflect the common thought of its era concerning the social stat...
William Shakespeare is known for his use of dramatic irony and complicated story lines. In Much Ado About Nothing, he also adds in the element of disguise to what the characters know, or what they think they know. There are multiple characters trying to ensnare others in different facades, whether it be for better or for worse. The deception and illusion in the play can either assist the characters or completely shatter the situation, but in both cases, Shakespeare advises us to infer about what we hear or see before we jump to conclusions.
The play also highlights the position of women in Elizabethan times. At the beginning of Act One we are introduced to Sampson and Gregory who are servants of the Capulet's and they are in the market place of Verona. They are messing around joking to each other and in the process puns are used such as collier, choler and collar. In the time this play was shown, this would have being considered very funny to the audience.
A major concern in both the film and the original text is the ‘status of women’. This is represented through the differing roles of women and their denigration within the Elizabethan society. For instance, Hero is accused of committing infidelity; consequently her image in society is tarnished, In addition to this, Claudio insults Hero publicly without even considering confirming the accusation of her being unchaste. This is illustrated through Claudio slandering Hero through the use of usage of Greek Mythological allusions “You seem to as Dian in her orb, but you are more intemperate than Venus in y...
"Much Ado About Nothing: Entire Play." Much Ado About Nothing: Entire Play. N.p., n.d. Web. 29 Mar. 2014. .
The modernization of nearly outdated and cliché settings typically used for Shakespearian plays such as Much Ado helps enforce Whedon's attempt to make the film and play familiar, as well as creates accessibility for the audience regardless of how well they may understand Shakespeare's language. Both the ensemble and individual cast members assist in achieving Whedon's vision by creating an atmosphere that seems familiar if only that it could be our own family and friends throwing that same banter back and forth between each other. Their playful and occasionally raw performances combine with a spectacular setting to help make Whedon's Much Ado About Nothing a stellar film that is a nearly perfect modern translation of a classic, centuries old
The first critic, Jan H Blits, discusses how the women of the play are inferior to the men. Blits states this opinion by comparing the two genders roles in the entire play, “The manly is associated with the firm, the brilliant, the cold, the independent, the high and the noble” First, Blits talks up the men of the play and make them seem important, he shows that the men have a major part in the play as if you had these traits you could be considered a much higher person compared to others, take Brutus for an example.
In William Shakespeare’s play ‘Much Ado about Nothing’, there are many instances of trickery and deception, which seem to surround the whole of the play.
According to Bulman, some of the roles were given a male cast to the boys in the Elizabethan for the different people to have their sexual desires and imaginations raised. The writer holds that the gay culture was prevalent during that time period (Bulman 76). For those that were heterosexuals the boys would boost their imagination and grow in the story through the different uses of all-male casts. These casts were well prepared and the right amount of make-up ensured that they were set-up perfectly for the role. In Bulman’s article it is clear that he was taken by the different attributes of the society and the different productions of the plays in the Elizabethan period. The article highlights how the plays were conceptualized and acted out by the different productions (Bulman 75). It is important to note that there are different methods used with each raising its own significance and perception from a given cause of action identified by the production
Shakespeare’s Much Ado about Nothing is, on the surface, a typical romantic comedy with a love-plot that ends in reconciliation and marriage. This surface level conformity to the conventions of the genre, however, conceals a deeper difference that sets Much Ado apart. Unlike Shakespeare’s other romantic comedies, Much Ado about Nothing does not mask class divisions by incorporating them into an idealized community. Instead of concealing or obscuring the problem of social status, the play brings it up explicitly through a minor but important character, Margaret, Hero’s “waiting gentlewoman.” Shakespeare suggests that Margaret is an embodiment of the realistic nature of social class. Despite her ambition, she is unable to move up in hierarchy due to her identity as a maid. Her status, foiling Hero’s rich, protected upbringing, reveals that characters in the play, as well as global citizens, are ultimately oppressed by social relations and social norms despite any ambition to get out.
With its entangled plots and eloquent use of words, Much Ado About Nothing is a story that has the ability to entertain the masses, both young and old. Shakespeare’s use of figurative language along with situation creates such vivid imagery that carries the drama from beginning to end. For example, when we look at Act 1 Scene 1 of the play, we are quickly introduced to the sharp tongued Beatrice as she verbally annihilates her unseen co-star Benedick.... ... middle of paper ... ...
	The first scene of Act I illustrates Iago's use of manipulation. Iago knows that Roderigo is upset about losing Desdemona to Othello. Iago himself is angry at Othello for being passed over for promotion to lieutenant for Michael Cassio. Realizing that by playing on Roderigo's jealousy he can gain an ally to work against Othello. Iago does this in a subtle manner. He explains to Roderigo that he was passed up for promotion by Othello. While doing this he makes Othello look inferior by reinforcing the fact that he is a Moor. By pointing out that Othello is a Moor Iago causes Roderigo to become even more jealous, because of the fact that he lost Desdemona to someone who he feels is of a lesser race. It even seems that Iago is toying with Roderigo when he reveals that he is a fraud when he says, "I am not what I am." (I.i.62) By using these tactics, Iago has almost gained total control of Roderigo.
There are however some sexist elements in the story, but just because there are certain characteristics of sexism in a play does not mean the play in itself is sexist and demeaning towards women.
The first to fall victim to Iago's manipulation, is Rodrigo. Iago knows Rodrigo has feelings Desdemona, and would do anything to make her his own. Iago tells Rodrigo that the only way to win Desdemona's love, is to make money to procure gifts for her. "...put money in thy purse.." (Act 1, Scene 3, Line 339). However, Iago is just taking those gifts intended for Desdemona and keeping them for himself, and in doing so, making a substantial profit. "Thus do I ever make my fool my purse" (Act 1, Scene 3, Line 376). Rodrigo eventually starts to question Iago's honesty. When faced with this accusation, Iago simply offers that killing Cassio will aid his cause and the gullible Rodrigo falls for it. "I have no great devotion to the deed and yet he has given me satisfying reason," (Act 5, Scene 1, Line 8). In doing this, Iago keeps Rodrigo in the dark and continues to profit from him monetarily. Cassio, like Rodrigo, follows Iago blindly, thinking the whole time that Iago is trying to aid him, when in-fact, Iago, motivated by his lust for power, is attempting to depose Cassio of his position as lieutenant. Iago does this by getting Cassio drunk and causing him to get in a fight and disturb Othello, Othello then demotes Cassio of his rank as second-in-command thus securing the position for Iago.
Much Ado About Nothing by William Shakespeare focuses on the enormous gap between the power of men and where women stand. Women were expected to be obedient and dependent on men, innocent, and were also expected to be good wives. Shakespeare wanted women to see how the roles are changing for the better. In this play, there is difference between the traditional roles of women back then, and the ones that stand out from the rest. He depicts this through two characters. In the opening scene, where characters and their personalities, and roles are established; Hero has only one line, which is seven words. Even said that, these lines are just a comment on Beatrice. Hero is the daughter and the property of her father, Leonato. Her helplessness comes from her being overprotected by her father, and the need to obey him. Beatrice, by contrast, does not have a father, she lives on her witty personality and her intelligence. Beatrice has a dream to spend her life “where the bachelors sit, and there live we, as merry as the day is long” (2.1.40-46) When Leonato tells Hero, “Daughter, remember what I told you: if the prince do solicit you in that kind, you know your answer,” (2.1.60-63) she just stands there, silently obeying her father. Hero’s looks are her only advantage as a women, as they are what attracts Claudio. He falls in love with her at first sight in the first act, based only on her appearance.
Iago is Othello’s ancient captain in the Venetian defense forces. He had hoped for a promotion but Othello passed over him in favor of Cassio, and Iago works revenge on them both. He exploits Roderigo as a source of money and an unwitting accomplice in his plot to bring down Othello. When finally cornered and charged with his wickedness, Iago refuses to speak or to repent or explain his actions, and he goes to his punishment still surrounded by