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Shakespeare's historical plays
Shakespeare's historical plays essay
Literary analysis of shakespeare
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In the play Coriolanus, Coriolanus ' mother Volumnia raises him to become this brave warrior of Rome. Volumnia is proud of who her son has become; however, she does not only think of Coriolanus as just her son, but a warrior that she has sexual desires for. Volumnia 's love and affection for Coriolanus in the play is incestuous due to her pondering the thought of having sex with Coriolanus as her husband, her over-excitement when she fantasizes about Coriolanus ' wounds, and the non-maternal indications of Coriolanus sucking on her breasts. This important to the play because Volumnia raised and taught Coriolanus to become this warrior that she fantasizes about. She uses these incestuous references to display how she really feels about her …show more content…
It more becomes a man/ Than gilt his trophy. the breasts of Hecuba/ When she did suckle Hector, looked not lovelier/ Than Hector 's forehead when it spit forth blood/ At Grecian sword contemning” (1.3, 36-40). Volumnia believes that Coriolanus being bloodied is more lovelier than a mother breastfeeding her child. This is an incestuous thought that Volumnia is fantasizing about. Just as she did before with thinking about Coriolanus as her husband, she is now saying that she would get more pleasure from seeing Coriolanus bloodied than him performing the action of sucking on her breasts. As she does say again later on: “Thy valiantness was mine: thou suck 'st it from me” (3.2.129). This implication of Coriolanus sucking on her breasts is not only of a maternal concept, it is of a sexual act. A mother who ponders the thought of having sex with a husband who is her son further implies that her feelings for Coriolanus are more than just what a mother would have for her son. Coriolanus being bloodied and injured in battle portrays him as this handsome and brave warrior; a picture that excites Volumnia sexually enough to compare it to her son “suckling” her. This incestuous perspective of the play is a reflection of Volumnia’s true desire towards Coriolanus as he is her dream warrior. She raised him in a way that fulfilled her fantasy of a
Throughout ‘Romeo and Juliet’ there is more than idealistic love shown, like the parental love from the Nurse to Juliet and the friendship Mercutio and Benvolio shared. This love had effects on everyone though because if Juliet and Romeo were known to be loved the feud between the houses may have been worsened and Juliet could've been left disowned if she had not married Paris. “But, as you will not wed, I’ll pardon you: - Graze where you will, you shall not house with me” (Act III: Sc. 5, lines 188-189).
The story of Lucretia begins with men boasting about their wives, trying to determine who is the best of them all. It is clear to them that Lucretia is the winner when she is found “hard at work by lamplight upon her spinning” (Livy, 100). She then moves on to be a gracious host to all of these men, again showing success in her womanly duties. Later that night one of the visitors, Sextus Tarquinis, comes into her room, and forces himself upon her, telling her that if she does not comply he will make it look like she had an affair with on of the servants (Livy, 101). She yields to him because she does not want it to seem as if she had an affair and n...
Clytemnestra has the ten years of the Trojan War to plan her revenge on Agamemnon. Upon his return Clytemnestra shows him some love. That love she showed quickly changes to rage and hatred when Clytemnestra she’s Agamemnon with his mistress Cassandra.
For example, when Virgilia, Coriolanus's wife, worries that her husband has been wounded in battle, Volumnia says: “Away, you fool! It more becomes a man than gilt his trophy”(1.3.39-43). Instead of trying to comfort Virgilia, Volumnia shows her joy at the prospect of her son having been gloriously wounded in battle. She suggests that, along with her milk, she infused an equal measure of thirst for blood—for others' and his own blood. The unknown “breasts of Hecuba” speech, along with others like it, is usually read as a reflection of Volumnia’s cruel and uncontrolled attitude toward Coriolanus when he was a little child. He then incorporated into his personality and this formed the basis of his love of violence. And she seems to take enormous pride in what she did with
Yet, despite the fact that no two women in this epic are alike, each—through her vices or virtues—helps to delineate the role of the ideal woman. Below, we will show the importance of Circe, Calypso, Nausicaa, Clytaemestra, and Penelope in terms of the movement of the narrative and in defining social roles for the Ancient Greeks. Before we delve into the traits of individual characters, it is important to understand certain assumptions about women that prevailed in the Homeric Age. By modern standards, the Ancient Greeks would be considered a rabidly misogynistic culture. Indeed, the notoriously sour Boetian playwright Hesiod-- who wrote about fifty years before Homer-- proclaimed "Zeus who thunders on high made women to be evil to mortal men, with a nature to do evil (Theogony 600).
In the fairy tale, Caporushes, retold by Flora Annie, begins with a king that has been left with his three daughters because his wife had passed away. The story begins very similar to King Lear in that both kings respectively ask their daughters who loves him the most. In the case of Caporushes, his youngest daughter responds that she loves him as much as “fresh meat loves salt.” In both stories, the youngest daughter is perceived as the more cunning and clever of the three daughters. The beginning of the stories are also similar because once the king in Caporushes interprets that his daughter does not directly profess his love for him, he ruthlessly banishes her from his kingdom, just the same way Lear did to his youngest daughter, Cordelia.
The reader is introduced to an insight of Titus Andronicus’ cruel nature, after he ignores Tamora’s cry to have her first-born son saved from his sacrifice to revenge the lives of his sons that her Goth people took. This new interpretation of Titus as a ruthless murderer heavily contradicts the reader’s first impression of Titus that Marcus gave the reader. Marcus initially leads the reader to except that Titus is good and honorable man. Titus’ sudden act of violence makes the reader realizes that he has two sides to his character: the relentless warrior and the beloved hero. However as the play unfolds, an individual can realize that everything that occurs throughout the play is connected to the initial sacrifice. It is evident that Titus’ character goes through many changes, the not one but many sides of his personality are revealed.
The William Shakespeare tragedy Othello features various types of love, but none compare to the love we find between the protagonist and his wife. In this essay let us examine “love” as found in the play.
...herself as a man and has misogynistic tendencies. Fortunately, the role of women in society today has changed very much from the roles that they played in classical mythology. Women are now seen as being able to play any role they desire, whether it is the role of a housewife or the role of a workingwoman with a successful career. It is no surprise that achieving the roles that women play today took such a long time when for so long even in mythology women’s roles in society were constantly pushed in the direction of domestics and when for so long women were portrayed as less then pleasant creatures. The fact that these sorts of roles were pushed on women in the Greco-Roman society was proof enough that it was a patriarchal society. It is astoundingly wonderful that the roles that women play in modern society have evolved so much since the times of classical myths.
Although love is interpreted as a wonderful thing it can also ruin someone's life, “Love is a trap. When is appears, we see only its light, not its shadows.” (Paulo Coelho) Love doesn’t fix people it breaks them asunder. It waits and waits for its next target to make a mistake and ruin everything they worked for. As seen in various works including; “The Raven” , Romeo and Juliet, and “The Gift of the Magi”. Romantic love is a force that inflicts pain upon those who believe in it or those who have been through it.
The love of the protagonist and his wife in William Shakespeare’s trgedy Othello can not stand up against the repeated assaults of the sinister Iago. Let us in this essay search for and comment on the examples of love found in the play.
In response to Hermia’s defiance toward marrying Demetrius, Theseus offers Hermia three choices in the first scene: to obey her father’s will; to become a nun and forever stay an unwed virgin; to die. The extremity of these punishments presented by Theseus, and Hemia’s decision to accept these punishments rather than marry Demetrius, exaggerates how love can lead to irrational sacrifices. Shakespeare then compares a married woman to a plucked and distilled rose, and an unwed woman to a withering unplucked rose on a “virgin thorn.” This potent imagery contrasts the sweet smell of perfume to the harmful touch of a thorn. If Hermia continues to defy the desires of her father, she is sacrificing a happily married life in hopes of following he...
Romeo and Juliet is a romantic love story about a young lad named Romeo who has fallen in love with Lady Juliet, but is unable to marry her because of a long-lasting family feud. The play ends in the death of both these characters and the reunion of the friendship between the families. Romeo is in love with Juliet, and this is a true, passionate love (unlike the love Paris has for her or the love Romeo had for Rosaline) that nothing can overcome, not even the hatred between their two families that is the reason for the death of their two children. Throughout the play, Shakespeare thoroughly explores the themes of both true love and false love and hatred. Without either of these themes, the play would loose its romantic touch and probably would not be as famous as it is today.
“Lysistrata” is a tale which is centered around an Athenian woman named Lysistrata and her comrades who have taken control of the Acropolis in Athens. Lysistrata explains to the old men how the women have seized the Acropolis to keep men from using the money to make war and to keep dishonest officials from stealing the money. The opening scene of “Lysistrata” enacts the stereotypical and traditional characterization of women in Greece and also distances Lysistrata from this overused expression, housewife character. The audience is met with a woman, Lysistrata, who is furious with the other women from her country because they have not come to discuss war with her. The basic premise of the play is, Lysistrata coming up with a plan to put an end to the Peloponnesian War which is currently being fought by the men. After rounding up the women, she encourages them to withhold sex until the men agree to stop fighting. The women are difficult to convince, although eventually they agree to the plan. Lysistrata also tells the women if they are beaten, they may give in, since sex which results from violence will not please the men. Finally, all the women join Lysistrata in taking an oath to withhold sex from their mates. As a result of the women refraining from pleasing their husbands until they stop fighting the war, the play revolves around a battle of the sexes. The battle between the women and men is the literal conflict of the play. The war being fought between the men is a figurative used to lure the reader to the actual conflict of the play which is the battle between men and women.
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).