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Representation of women in Shakespeare
How has the representation of women in literature evolved since 1900
Women in literature
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William Shakespeare's The Winter's Tale In Shakespeare’s The Winter’s Tale, the playwright introduces his audience to a world blending natural imagery with that of ancient religion. Appearing as nature’s child, Perdita fails to realize her own identity and does not recognize that the flowers she describes mimic her own image. Just as gillyvors are a result of crossbreeding, the shepherdess is essentially one of nature’s bastards since she eventually discovers Porrus has been an adoptive father for her, and Leontes is her biological father. Perdita not only shares her natural image with the goddess Proserpina, but also shares in the goddess’ fate as a lost daughter. Much like Proserpina who represents the springtime, Perdita exemplifies the natural growth and prosperity that accompanies the season. When Antigonus agrees to take up Perdita and leave her to chance, he understands that she is nature’s child since “Some powerful spirit instruct the kites and ravens / To be thy nurses. Wolves and bears, they say, / Casting their savageness aside, have done / Like offices of pity” (II.iii.185-8). Nature then raises the infant as her own when Perdita takes on natural attributes uncommon among humankind. Before Antigonus abandons the infant Perdita in accordance with Leontes’ orders, he addresses the babe, “Blossom, speed thee well” (III.iii.45), as though Perdita resembles a flower in full bloom. As Perdita grows older, the shepherdess imparts her “blossoming” image on others, particularly on the courtiers who greet her in the country. After asking Dorcas to “Give [her] those flowers there,” she distributes “rosemary and rue [which] keep / Seeming and savor all the winter long” (IV.iv.73-5). The flowers ... ... middle of paper ... ...u might well enjoy her” (V.i.214-5). Perdita’s beauty surpasses her lowly stature to the point where she is not regarded as a shepherdess to Leontes, but rather as a higher power. Perdita ultimately takes on the natural image of Proserpina as well as her role as a lost daughter. Through the flowers Perdita mentions, she effectively manages to describe not only her own identity, but that of the goddess. Even though Antigones abandons the shepherdess at birth, Perdita’s missing person and questionable identity causes others to also lose the ones they love and opportunities they could have had. Because the loss of Perdita creates significant loss for others, it is as though the maiden has a hand in others’ lives, much like the gods. Thus her indirect intervention, image, and role as a lost daughter all play a key part in her representation of Proserpina.
In two amazing poems, both poets make allusions to the myth of Persephone. The myth of Persephone tells of her kidnap by Hades, the God of the Underworld. She is then fated to spend one-third of the year in the underworld as Hades’ bride because she consumed pomegranate seeds. This myth appears frequently as a metaphor not only in “The Pomegranate” and “The Bistro Styx,” but in many others as well. In both poems, the myth of Persephone is used to symbolize the mother-daughter relationships.
During this time, Felicitas gave birth to a baby girl, who was taken away from her hours after her birth. The day before they were to be martyred, Perpetua had a dream of her battling a “savage Egyptian”, and proclaimed that she would battle the devil himself. The day of their execution, the soon-to-be martyrs are led into the amphitheater where they are to be killed by beast. They are first scourged by Gladiators, and then a boar, a bear, and a leopard are set on the men, a wild cow on the women. After the two were wounded by the animals, Perpetua and Felicitas gave each other the kiss of peace before they are put to the sword. Both are beheaded, and both became martyrs for their faith.
Diana presents the female perspective of the situation. To strengthen the male and female divide Ovid feminizes the water, and surrounds Diana with nymphs, feminizing the sacred grove. The females in the grove, Diana and the nymphs, feel violated by Actaeon’s presence. The nymphs try desperately: “clustered round Diana to clothe her body with their own”(183-4). Yet it was impossible for the nymphs to clothe Diana and so she was left exposed. This creates a series of strong negative emotions in Diana. First because she is a huntress who is now caught prey making Actaeon a better hunter. This enraged Diana who “so deeply blushed”(188) but it is further emphasized by the nymphs. The nymphs are equally gripped by rage “the nymphs beating their breast filled the grove/with sudden screams”(182-3). The nymphs are meant to reinforce Diana’s emotions. The rage is an instinctive reaction that is replaced with fear that leads to mental anguish for Diana.
William Shakespeare's Romeo and Juliet. In the age of Rome and Juliet’s creation, many values of society were. different from those we observe in modern day life. Women did not have equal rights, fathers had a lot more authority over their children and arranged marriages were still practiced.
Perpetua, one of the earliest female martyrs, lived in a time where gender limited her abilities to exert power and influence towards her family and society. The only place she found to exert any influence was in her new found religion, Christianity. Christianity was relatively new and mysterious and very much illegal in the third century of the Roman Empire. Being a daughter influenced Perpetua more than the other roles that she held. While under the direction and guidance of her father and then the heavenly Father, Perpetua’s decision making and visions to become a martyr were deeply rooted in being a daughter and following the guidance of that father to be placed where she wanted to be, heaven.
After killing Medusa Perseus was returning to his home, and heard a woman calling from an island. Putting off his journey home, home is where the heart is after all, and he didn't know he would find his heart with Andromeda. Finally landing on an island, he found Andromeda tied to a stake. A serpent that was terrorizing her village and and Oracle explained that the only way to keep the serpent away was to sacrifice Princess Andromeda. By the time she finished explaining her situation the serpent has come for her. Perseus killed the serpent as if it were a flower. Taking Andromeda to his home, she couldn't go back to her family, as they were the ones who tied her to the stake and left her to die. Perseus kissed Andromeda and fell in love with her. The third and final reason Perseus should be labeled a hero is one that will warm your heart and
The ideal woman in ancient Rome is distinguished as someone who is apathetic, honest, and primarily, a woman who showcases qualities that are of which are the contradictory to men. The dominant ideology of Ancient Rome in the Aeneid, indicates that anything different or contrary to this assumption will cause chaos. Vergil’s work in this epic disputes the binaries of male and female, expressing higher capacity to women and the depths to which their behaviour stimulates warfare in Italy. The Aeneid accommodates many circumstances regarding female roles and what attaining these inhospitable characteristics bears. By intensely analyzing the detrimental and unpleasant characters of Juno and Allecto, it is evident to comprehend how their characters in the epic illustrate women who are anarchic, lethal, and better voluntarily.
...the horrific incident of his murder to his dearest Porphyria. Finally, the employment of the clever use of irony serves in proving the persona’s inner madness, as what he thinks and does is contrary to what Porphyria has done earlier prior to her death. Though the persona’s execution of his late lover was done to keep his everlasting moment of intimacy with her, the act was still malevolent and evil, and was a poor and foolish attempt in displaying his own affection for his love. In the end, it greatly epitomized his greediness over keeping Porphyria to himself, and his cruelty by taking away her life for his own benefit.
As she helps Oedipus in Oedipus at colonus and remains loyal to her sister, Antigone.
At the outset of Oedipus Rex no female characters are present; the reader sees a king who comes to the door full of curiosity: “Explain your mood and purport. Is it dread /Of ill that moves you or a boon ye crave?” When the priest has responded that the people are despairing from the effects of the plague, the king shows sympathy for his subjects: “Ye sicken all, well wot I, yet my pain, /How great soever yours, outtops it all.” Thomas Van Nortwick in Oedipus: The Meaning of a Masculine Life : “We see already the supreme self-confidence and ease of command in Oedipus. . . . exudes a godlike mastery in the eyes of his subjects. . . .”(21-22); such “godlike mastery” will be his undoing. The critic Ehrenberg warns that it “may lead to ‘hubris’” (74-75). Throughout the drama Sophocles draws out an ongoing contrast between the “godlike mastery” of the king and the softer, more balanced and selfless characteristics of Jocasta, his wife. She is a foil to Oedipus. Shortly thereafter Creon, Jocasta’s brother, is returning from the Delphic oracle with the fateful words of the god’s command: “...
The depiction of the Greek and roman myths are given unique insights from different authors. The Hymn to Demeter and Ovid's Metamorphosis provide and insight to Demeter's love for her daughter, Persephone, and explores its affect on the surrounding environments. The theme of separation and isolation is present in both of these myths, however, in Ovid's Metamorphosis, he symbolizes the environment in important events, has characters playing different roles, and empowers female deities.
The parallels between the protagonists, Laura and Persephone, are quite evident. First and foremost, Laura’s mother, Mrs. Sheridan, stands as a counterpart for Demeter, Persephone’s mother. Mrs. Sheridan chose to pass down her black hat to Laura, the youngest of all of her children (Masfield 251). Laura and her mother share an intimate relationship that mirrors that of Persephone and Demeter. This display of affection expresses how comfortable mother and daughter are around each other. Mrs. Sheridan thinks highly of Laura, she sees her as a mature young lady. In comparison, when Persephone is whisked away to the Underworld without her consent, Demeter is overcome with grief and depression. Demeter’s life was centered on Persephone; she had the sensation that something was the matter. When he daughter vanished, Demeter lost her sense of direction. In addition, bot...
is unfolded, the reader sees a wife in love with the husband who was wise enough to earn her love (and consequently her fortune!). Beware, gentle reader! Do not fall under the spell of Portia the control freak! The following scenerios must be proof that this woman is not to be trusted!
Oedipus the King is a drama full of incest, pride, and the wrath of the gods. It is a story that has been read and performed for centuries, and the compelling characters written by the dramatist, Sophocles, have a lot to do with that. One of those dynamic characters is Jocasta, Queen of Thebes, wife and mother to the play’s protagonist, King Oedipus of Thebes. She is persuasive, level-headed, protective of her family, and exemplifies the confident nobility of a royal woman; Jocasta has many layers to her personality, and her purpose is to be the common ground and voice of reason during hardships in her family.
Shakespeare creates many topics for discussion throughout his play, The Winter's Tale. For many of these themes, multiple viewpoints can be derived from the thoughts, words, and actions of the characters in the play. The reasoning for Shakespeare's title is indeed one of the aforementioned topics.