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The role of parents in child development
Shakespeare father daughter relationships
Miranda's naiveness in the tempest
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Cymbeline and The Tempest illustrate daughterhood as a daughter’s inability to break the boundaries of the relationship with the father. The impact on daughterhood arises from a father’s behaviour, which influences the daughter’s actions. Innogen in Cymbeline and Miranda in The Tempest seek to understand self-acceptance over their father’s lack of trust towards them. Therefore, a father’s lack of trust disrupts the daughter’s ability to find self-trust; Innogen and Miranda rebel as an act of self-control to find trust with themselves. They also realize their problems and self-worth. In other words, the daughters reflect on their problems to take control and protect themselves. Innogen and Miranda represent daughterhood as an emotional journey that reflect the impact of a father’s trust. In Cymbeline, Innogen struggles with self-acceptance because her father, Cymbeline, does not accept her as a person. Innogen’s trust with her father is broken because Cymbeline does not approve of her actions, especially when she marries Posthumus. In contrast, Miranda in The Tempest, struggles to please her father, Prospero, because he trusts that she will obey. The difference between Innogen and Miranda illustrate the father’s …show more content…
Innogen and Miranda question their self-acceptance when they have little control over their life. Both women demonstrate the lack of trust with their actions because their father dictates their behaviour. Initially, Cymbeline and Prospero pin point the wrongdoings of their daughter’s choice in men; Innogen and Miranda, respectively rebel against their actions. In other words, Innogen reflects on her problems to build self-control. Similarly, Miranda develops self-control when she trusts herself to make the right choices without her father’s influence. Innogen and Miranda gain satisfaction when they trust themselves to take
“The Tempest” is a play written by William Shakespeare in early 1600s that has been previewed in different kinds of movies, such as the one made in 2010, directed by Julie Taymor. It is a play containing themes such as; revenge, allusion, retribution, forgiveness, power, love and hatred. When it is compared to the play, there are specific differences seen in the movie, such as; Prospero is reflected as a woman in the movie. The time differences between the play and the movie and how the spirit Ariel is shown as a white man in the movie. The play starts with the story of Prospero, the Duke of Milan. He gets banished from Italy and was cast to sea by his brother Antonio. He has perfected his skills during twelve years of exile on a lonely island. Prospero creates the tempest to make his enemies’ ship to wreck and lead them to the island. Meanwhile, Antonio takes Prospero’s place and starts to make everyone believe he is the duke and makes an agreement with the King of Naples, Alonso. Besides the drama happening in the island, Prospero forgives Alonso and the others.
In conclusion, Even though both Ibsen and Glaspell are showing the responsible for giving women insight to what their lives could be as an independent person who is treated as an equal, their plays deals somewhat different sight to deals with the problems of the inequality between men and women. In other words, in A Doll’s House, Nora – like many others – begins to realize that she is more than capable of thinking and living for herself. Unlike Nora, however, in Trifles, Mrs. Wright chose to stay married to her unloving and murder her husband. Moreover, unlike what A Doll’s house portrayed, in Trifles, Glaspell shows the power of women can gain by sticking together and looking out for one another in order to improve their social positions from the behavior of Mrs. Hale and Mrs. Peters.
inexperience with the evils of the world leads to her demise. One's innocence attracts all types, yet this attraction may become lethal. Her husband, Othello, will protect her at any means. He will sacrifice himself for the love of his beloved wife.
Othello: The Father/Daughter Conflict Brabantio, father of Desdemona in William Shakespeare's "Othello," is not happy that his daughter is marrying the title character. This father/daughter conflict impacts the work significantly by foreshadowing the climax, giving antagonist Iago material for his evil plot. Brabantio is a Venetian Senator with definite ideas on the subject of his daughter. He wants to choose a husband for her who he feels is of her caliber and who can provide her a good life, as well as raise the family's esteem in Venetian society. At that time, this was his right as Desdemona's father.
Parent and children relationships in Shakespeare are shown in a very creative and enthusiastic manner. The drama of Shakespeare characterizes how children get along with their parents. Some of the family relationships shown in Shakespeare drama is strict with many rules that everyone in the family needs to follow. Some examples of works written by Shakespeare are: “The Merchant of Venice,” Romeo and Juliet,” and “King Lear.” There are many pieces by Shakespeare’s which include children not obeying their parent’s wishes; whereas there are other plays written by Shakespeare which includes children obeying to their parents wills. Each and every text of Shakespeare’s gives the audience a different objective as well as a different point of view. There are also symbols used throughout the plays which often indicate a significant meaning. Irony, foreshadowing as well as figurative language is used to show a sense of understanding within the characters. In the two plays that will be discussed in this essay, the audience will find out about these significant elements that were used throughout...
Slavery occurs on a widespread basis in The Tempest. Occurrence of slavery to many of the characters, all in different ways, helps to provide the atmosphere for the play. The obvious slaves are not the only slaves, as Prospero has basically got everybody entranced when he wants, to do whatever he wants with them. He can also control the way that they think.
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.
Shakespeare illustrates the injustices done to women by demonstrating the treatment Desdemona and Emilia received after having been framed of adultery. Because both women are though of cheating on their husbands, they no longer fit in society’s model of an exemplary wife. Despite having proved their affection for their husbands countless of times, not having a pure image led to Iago and Othello mistreating of the women they once loved. Once both women began to stand up for themselves and challenge the authority of their husbands, the repercussions of their bravery were both women’s death. Which shows, women’s only source of authority was their reputation as a wife. Once they lost that status, they no longer held any form or respect in society or with their husband’s.
William Shakespeare’s The Tempest provides dialogue that portrays the social expectations and stereotypes imposed upon women in Elizabethan times. Even though the play has only one primary female character, Miranda, the play also includes another women; Sycorax, although she does not play as large a roll. During many scenes, the play illustrates the characteristics that represent the ideal woman within Elizabethan society. These characteristics support the fact that men considered women as a mere object that they had the luxury of owning and were nowhere near equal to them. Feminists can interpret the play as a depiction of the sexist treatment of women and would disagree with many of the characteristics and expectations that make Miranda the ideal woman. From this perspective, The Tempest can be used to objectify the common expectations and treatment of women within the 16th and 17th Centuries and compare and contrast to those of today.
In the 1600s, married women were expected to do anything for their husbands. Husbands were urged to be good heads of their families and to treat their wives with kindness and consideration. The woman were considered to be the 'weaker vessel ' and thought to be spiritually weaker than men and in need of masculine guidance. During this time, women were treated as inferior being who were meant to look after the house and were to children . Women were treated with little dignity. In “The Tempest,” William Shakespeare was able to show the oppression of women throughout the play. Scenes with Prospero and Miranda have shown significant hidden evidence to prove that the colonial era was a time of female oppression. Shakespeare uses Prospero as an
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.
and do things themselves. One of the women gets her own job and the other leaves her daughter for adoption. Thus showing they are making their own decisions in life. This is unheard of in the 1800's and shows Ibsen trying to have a society in which women do have an identity in society and can be heard. Throughout the play, a women is shown doing her own thinking and not listening to what men have to say even though that is not how it used to be. Ibsen creates this new society in which anyone, no matter the gender, should be able to make their own decisions about life and how to live it.
The male protagonist is a dynamic character who changes and expressing his thoughts throughout the story. Because this story is told from a third-person limited point of view, there is not much known about the female character. It is revealed that her name is Helen and she is carrying a child. Although it is not stated within the story, there is a possibility that Helen was raped. It is not directly stated how she became pregnant or anything about her past. However, it is said that when she was found there were two freshly dead men nearby. Could they have raped her? Or could one of the men possibly have been her husband? Despite the fact that these two characters did not know each other before all of this happened, the main character is still motivated to help Helen in any way that he can. Throughout most of this story, he says that he is looking for the last few acts of a play. The play he is searching for is The Tempest by William Shakespeare. He is determined to find these pages because he believes it will help Helen because she loves to read. From the details that the author states, it seems as though Helen is undergoing depression and a lot of self-doubts. She is scared for what will come when the baby arrives and how they will survive. She never looked happy even when he tried to cheer her up. He is hoping that if he is able to find all of the pages and give the play to Helen she will be
While the relationship between fathers and sons has been documented at length, the father/ daughter dynamic figures less prominently in literary tropes; in fact the last canonical piece I can recall reading was Euripedes’ Electra in high school. The tenuous relationship between Daddy and his little girl, however, harbors depths more personal and tangible than Greek tragedy and psychological analyses invoking the Electra complex. The emotionally void or aloof father in particular often burdens the female psyche, for his absence proves just as palpable as his sought after presence, shaping the landscape of a daughter’s future relationships and the construction of a self-image fragmented and disjointed by an early and intimate knowledge of rejection and abandonment. Transcending characterizations attached primarily to filial duty as experienced by the matriarch, the father figure remains the subject of mythologization, just as Sylvia Plath turned her father into a Colossus, a cold, inanimate stone edifice revealing none of his secrets or affection.
Morality and ethics are a construct of one’s own self, whether they are good is completely up to that society’s idea of normality of the time period you lived. But there is hope. Plato believed that art is a poor replica of nature, and that if art does not teach some sort of moral or ethical lesson to its audience that it was damaging. William Shakespeare, master author as it were, wrote in such depth that one could analyze his works under every lens known to man and come up with the different yet correct conclusion. Because of that I think the best and most efficient way to analyze Shakespeare, this is definitely the case for The Tempest, is through the lens of the moral school of criticism.