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Lavinia in titus andronicus
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Firstly, a women's sexuality had to be controlled by men. However, sexual desire is something that is not controllable. In Titus Andronicus, hegemonic masculinity becomes threatened and made unstable by unrestricted female sexuality. Saturninus finds himself humiliated when his chosen empress Lavinia is engaged to his younger, less worthy brother, Bassianus. He does not expect such actions from passive Lavinia; and refers to her engagement as a sexual matter, in that Bassianus “flourished…her with his sword” (1.1.315). The imagery here has sexual overtones through the sword as a phallic symbol. The verb “flourished” connotes Lavinia’s attraction to Bassianus sexual prowess and undermining him as emperor. Therefore, Saturninus relies on appointing Tamora, as his empress to establish his male dominance in society to subordinate her. …show more content…
Cuckoldry is a man’s inability to satisfy a woman’s sexual needs. Shakespeare alludes to Saturninus as an Actaeon figure, following the Greek mythology of Actaeon disobeying Artemis’s wishes and changes him into a deer that his hunting dogs eat (2.2.70). This classical allusion works to “pity” Saturninus as the almighty Roman emperor turned “stag” who, once his wife’s body has been sexually active, cannot policy her because of his emasculation. Furthermore, Actaeon’s once loyal hounds turn on him which may represent Tamora’s loyalty to fool Saturninus as a “handmaid to [his] desires” (1.1.290). Tamora’s further control is as “the siren that will charm Rome’s Saturnine / and see his shipwreck” (1.1.520-523). The analogy to the legendary sea creature proves how Tamora’s unrestricted sexuality is destructive to Saturninus’ masculinity. Therein, male dominance over containing female sexuality is a social construct representing this as an idea rather than representing Saturninus’s
“If there were some women quite unlike her who made herself available to everyone, who always had some man that she had openly designated as her lover…who even kept young men and made up for their fathers stinginess by paying for them” (Pro Caelio 38, pg 144). Clodia was known throughout Rome for having many sexual relationships outside of wedlock with countless men of Rome. She is even considered by many to be the famed Lesbia, the lover of the famed Roman neoteric poet Catullus. Cicero is setting the stage for his denouncement of Clodia by styling her as a women that is a direct contrast to what a Roman women should be. We are given countless examples of the perfect Roman women: Rhea Sylvia, Lucretia, and Virginia to name a few. While not directly referred to by Cicero the stories of these women would be common knowledge in Rome and the fact that Clodia’s life style contrasts these aforementioned women would be obvious. Cicero then goes even further and accuses Clodia of being not simply a prostitute but a crude person, someone with overt and offensive sexual desires : “her embraces, her kisses, her beach parties, her boating parties, and her dinner parties all declare her to be not simply a prostitute but a lewd and lascivious prostitute at that” (Pro Caelio 49, pg 148). This is Cicero attempting to
While reading the works of Hesiod, it is impossible not to notice the way that women are characterized and discussed. In his two major poems, the Theogony and Works and Days, he makes no attempt to make his contempt and abhorrence of the female sex a secret. In Works and Days, Hesiod includes the story of Pandora – a woman created by the Greek gods meant as a punishment for the human race – in his discourse to his brother, Perses. The Theogony – through an account of the creation of the universe and the origins of all the gods – presents depictions of women as monstrous and wicked. The negative and misogynist views of women exhibited in Hesiod’s Theogony and Works and Days give insight into the similar views of women that existed in ancient
One way in which Medieval women were undermined and subjugated to men was by being painted as untrustworthy temptresses, and the lady in Laustic, the unnamed lover in Lanval, and the Queen in Lanval are all portrayed as temptresses. For instance, the lady in Laustic spends all night looking over at her lover. She cannot go to the castle next door to see her lover, so instead, all night “The lady, at her window, higher,/Speaks, and looks, only desire.” From this passage we can see the sexual undertones of the story, with lady looking with desire at her lover. Elsewhere it explains that “They had all they wanted, at their leisure,/Except coming together alone, you know,/And going as far as they'd like to go,” clearly indicating the overt sexual nature of the woman’s desire for her lover and his for her. Lanval’s unnamed lover is even more overtly sexual, appearing scantily clad. The first time we meet her, the story tells, “In just ...
Over the course of time, the roles of men and women have changed dramatically. As women have increasingly gained more social recognition, they have also earned more significant roles in society. This change is clearly reflected in many works of literature, one of the most representative of which is Plautus's 191 B.C. drama Pseudolus, in which we meet the prostitute Phoenicium. Although the motivation behind nearly every action in the play, she is glimpsed only briefly, never speaks directly, and earns little respect from the male characters surrounding her, a situation that roughly parallels a woman's role in Roman society of that period. Women of the time, in other words, were to be seen and not heard. Their sole purpose was to please or to benefit men. As time passed, though, women earned more responsibility, allowing them to become stronger and hold more influence. The women who inspired Lope de Vega's early seventeenth-century drama Fuente Ovejuna, for instance, rose up against not only the male officials of their tiny village, but the cruel (male) dictator busy oppressing so much of Spain as a whole. The roles women play in literature have evolved correspondingly, and, by comparing The Epic of Gilgamesh, Sir Gawain and the Green Knight, and The Wife of Bath's Prologue, we can see that fictional women have just as increasingly as their real-word counterparts used gender differences as weapons against men.
Eupriedes, Medea and Sappho’s writing focus on women to expose the relationships between a variety of themes and the general ideal that women are property. The main characters in both pieces of literature demonstrate similar situations where love and sex result in a serious troll. These themes affected their relationship with themselves and others, as well as, incapability to make decisions which even today in society still affects humans. Headstrong actions made on their conquest for everlasting love connects to sacrifices they made to achieve their goal which ultimately ended in pain. Love and sex interferes with development of human emotions and character throughout the course
The time is the sixth century, the place is Rome and the person is Lucretia, a woman who contributed to one of the biggest parts of Roman history: the creation of the Roman republic. The rape of the virtuous Lucretia by Sextus Tarquinius, the son of Tarquinius Superbus' (an Etruscan king) was the final straw for the Roman people and pushed them to want to change from a monarchy to a republic. From the accounts of the rape of Lucretia from ancient historians like Livy, Cicero and Dionysius, it is clear that Lucretias rape not only spurred the roman people to want to get rid of the Etruscan King and his family, but also revealed the important role of virtue in women in roman society.
Who would be willing to die for their loved ones? Romeo and Juliet would and did. Romeo and Juliet’s love and death brought two families together who could not even remember the origin of their hate. When the parents saw what their children's love for each other, they realized that their fighting had only led to suffering and insoluble conflict. Romeo and Juliet loved each other to an extent that they killed themselves rather than live apart. They did it with no hiatus. Juliet says before she kills herself, “O happy dagger, This is thy sheath. There rust and let me die.”( 5, 3, 182-183) demonstrating how she would rather die than not be with him.
With so many words making up the content of plays, it is difficult for one, single word to make much of an impact. However, the word ‘honor’ does just that in the play Titus Andronicus. Honor means different things to different people, and this is quite evident in the tragedy that is Titus Andronicus. The definition of honor has changed throughout the history of man. The character for which the play is named, Titus, puts his honor and the honor of Rome before anything else. In the play, honor is used as justification for wrongful actions. There are murders that happen in the name of honor. Honor is also lost by some and taken from others. Although small in size, the word honor plays a large role in Titus Andronicus.
Any examination of women in Livy’s writing demands not only a literal interpretation of their character development and values, but also must account for their symbolic importance—thus creating a much more complex representation. Livy, an ancient historian, authored The Early History of Rome to be an exploration of Rome from its foundation, focusing on historical events and societal organization. In it, he examines the patriarchal society that stabilized Rome throughout its dominance. However, as a result of this explicitly defined hierarchy in Rome, women were seen as secondary figures in society. Most were viewed as submissive and passive, and it was well within the rights of men to assert their dominance—many women even agreed with these values. This can be seen in Livy’s portrayals of such women as the Sabine women, Horatia, and Lucretia. Yet Lucretia provides an interesting complexity to the exempla of women. On a symbolic level, Lucretia is an important catalyst in affecting the political organization of Rome. This representation is furthered with Livy’s descriptions of Lavinia, Rhea Silvia, and Verginia. Despite the work of Livy to create an accurate portrayal of women in ancient Rome, other authors showed women to actively defy this patriarchal society he describes. However, Livy’s effort to create the most accurate explanation of early Rome through a historical representation drives this discrepancy in characterization through genre. Therefore, Livy’s work serves as both an accurate and complex examination of the role of women in ancient Rome. According to Livy, a woman’s role was defined by her sacrifice; culturally, women were to be subordinate to men in the patriarchal structure of society, but also served as important...
Titus Andronicus is a play marked by acts of horrific violence and littered with death and the destruction of others. Each violent act, however, serves to explain and sometimes encourage the motives of the play's memorable characters and impart a very tightly knotted plot. The structure of the play employs well-defined heroes and villains. Revenge is their key motivating factor. All of these elements combine to form a cohesive plot and contribute to the overall success of the story.
“O Romeo, Romeo, wherefore art thou Romeo? Deny thy father and refuse thy name;” (Shakespeare, 536). In the book, ‘Romeo and Juliet”, by William Shakespeare there is a deeper meaning that Shakespeare is trying to portray other than parents cannot control their children’s hearts. He is trying to portray that a name is only a name and it doesn’t matter in the grand scheme of things and that even with a different name that person will still be the same person they have always been. Shakespeare is using the characters: Juliet, Romeo, Lord Capulet, Friar Lawrence, and the Nurse to get this message across to the reader or the viewer.
Livy’s narration of the rape is different from Ovid’s as it clearly describes the effort put forth by Romulus to appease the women that were taken. Livy is able to develop the significance of the women taken by showing how his treatment of the gender roles is a direct reflection of what is acceptable in Rome, and that his narrative is not simply marital based but also has themes in the political and social realms. In the world today western culture recognizes persecution and oppression. Yet, the allegorical characterization of victims is not identified or taken as seriously. The Sabine woman are not viewed as victims for sexual innuendos in Livy’s tale. Instead they take the role of a counterfeit desire that seems ...
Women were often subjects of intense focus in ancient literary works. In Sarah Pomeroy’s introduction of her text Goddesses, Whores, Wives, and Slaves, she writes, “Women pervade nearly every genre of classical literature, yet often the bias of the author distorts the information” (x). It is evident in literature that the social roles of women were more restricted than the roles of men. And since the majority of early literature was written by men, misogyny tends to taint much of it. The female characters are usually given negative traits of deception, temptation, selfishness, and seduction. Women were controlled, contained, and exploited. In early literature, women are seen as objects of possession, forces deadly to men, cunning, passive, shameful, and often less honorable than men. Literature reflects the societal beliefs and attitudes of an era and the consistency of these beliefs and attitudes toward women and the roles women play has endured through the centuries in literature. Women begin at a disadvantage according to these societal definitions. In a world run by competing men, women were viewed as property—prizes of contests, booty of battle and the more power men had over these possessions the more prestigious the man. When reading ancient literature one finds that women are often not only prizes, but they were responsible for luring or seducing men into damnation by using their feminine traits.
In the plays female sexuality is not expressed variously through courtship, pregnancy, childbearing, and remarriage, as it is in the period. Instead it is narrowly defined and contained by the conventions of Petrarchan love and cuckoldry. The first idealizes women as a catalyst to male virtue, insisting on their absolute purity. The second fears and mistrusts them for their (usually fantasized) infidelity, an infidelity that requires their actual or temporary elimination from the world of men, which then re-forms [sic] itself around the certainty of men’s shared victimization (Neely 127).
Language is the pivotal foundation of all communication. With it, one can reveal one’s thoughts, emotions and desires or more so, what one wishes to achieve. In this assignment, the empowering nature of such a concept will be explored with close reference to Lavinia of Shakespeare’s Titus Andronicus, and Harrison’s internal monologue in V. The focus on such proves that to a great extent, language does in fact empower the individual.