Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
The role of women in
The role of women in Shakespeare's play
The role of women in Shakespeare's play
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: The role of women in
Women's Sinister Roles in Macbeth
In reading Shakespeare's tragic drama Macbeth, one meets only one good woman - Lady Macduff. The remaining female characters are basically evil. Let's consider mainly Lady Macduff and only briefly the three witches.
Blanche Coles states in Shakespeare's Four Giants that Macbeth's wife had considerable leverage over her husband's mind:
This was her opportunity to do as she had promised herself she would do after she had read the letter - to pour her spirits into his ear, to chasten with the valor of her tongue all that might impede him from the golden crown. We may be sure she took this opportunity to use all her monstrous powers of persuasion. Thus he goaded himself, or was goaded by his wife, into searing the terrible oath, whether he had any clear purpose of keeping it or not. (48-49)
In his book, On the Design of Shakespearean Tragedy, H. S. Wilson mentions the very wife-like manner in which the queen fulfilled her essential role in the tragedy:
It requires an extraordinary exertion of will and persuasion from Lady Macbeth to strengthen his wavering purpose. Professor Kittredge used to point out to his classes that Lady Macbeth, in urging Macbeth to act, uses the three arguments that every wife, some time or other, uses to every husband: "You promised me you'd do it!" "You'd do it if you loved me!" "If I were a man, I'd do it myself!" But Macbeth's mind is made up by her assurance that they may do it safely by fixing the guilt upon Duncan's chamberlains. (72)
In Fools of Time: Studies in Shakespearean Tragedy, Northrop Frye shows that a lady is the actual driving force in the play:
That Macbeth is being hurried into a premature act by his wife is a point unlikely to escape the most listless member of the audience, but Macbeth comes to regret the instant of fatal delay in murdering Macduff, and draws the moral that
The flighty purpose never is o'ertook
Unless the deed go with it. From this moment
The very firstlings of my heart shall be
The firstlings of my hand.
That is, in future he will try to attain the successful ruler's spontaneous rhythm of action. (91)
L.C. Knights in the essay "Macbeth" describes the unnaturalness in the thoughts and words of the plays dominant female force, Lady Macbeth:
When reading ancient texts, they are often told through an omniscient point of view, such as The Odyssey or Gilgamesh, or they are written through another person’s perspective, such as The Republic. Confessions differs in that it is told from a first-person point of view, which makes it uniquely fascinating because we get to learn firsthand how Augustine’s actions, thoughts, and beliefs affected him. In comparison with the other, often mythical, texts, Augustine is a humanized perspective into the world—neither divine nor idolized; his story resembles that of many others as a man who grew to seek both conviction and resolution in his choices. The Confessions of Saint Augustine is, at its core, the journey of an everyman through his life—a concept not far removed from contemporary media. It is the culmination of his trials, tribulations, and efforts as a young man whose development influenced by the immense possibilities of the spiritual world that surrounded him.
This paper will outline specific points in Saint Augustine’s Confessions that highlight religious views following the fall of Rome. Though Augustines views on religion may not reflect that of most people in his time period, it still gives valuable insight into how many, namely Neoplatonists,, viewed God and his teachings.
Augustine. “Confessions”. The Norton Anthology of Western Literature. 8th ed. Vol. 1. New York: W.W. Norton, 2006. 1113-41. Print.
St. Augustine considers his mother as a crucial factor in his conversion to Catholicism. However through the analysis of his Confessions it leads me to believe that St. Augustine’s mother was not a decisive figure. Monica was in the background keeping him in thought and prayer however Augustine’s watershed moments came as a result of his own examination of readings as well as his conversations with his friends and mentors. Therefore I argue that Monica had delayed Augustine’s baptism and it was his own experiences that allowed him to come to God.
Lady Macbeth is the wife of Macbeth from the tragic play by William Shakespeare. Macbeth is estimated to have been played for the first time in 1606. Lady Macbeth is one of the few and only woman we hear from in the play, except for the recurring weird sisters and a few comments from Lady Macduff. Being the female who draws the most attention to herself, Lady Macbeth would not only be a fascinating role to play, but she is an interesting character to analyse as well. Considering the typical stereotype of a woman and how she should portray femininity, Lady Macbeth would not be the most feminine of her kind. In the time period of Macbeth, a woman was the weaker sex, physically and emotionally, and it would be their significant other or father
You prompt us yourself to find satisfaction in appraising you, since you made us tilted toward you, and our heart is unstable until stabilized in you. Quintessentially, this quote from Confessions symbolizes Augustine’s perilous journey towards Christianity. Although appearing earlier in what is colloquially known as the “first autobiography”, Augustine expounds on this very idea throughout his writings. Whether that includes his attraction and disdain for Manichaeism or his affinity with Neo-Platonism, one could argue this quote acted as the foundation of his inquisitions of these pre-modern dogmatic sects. Augustine, despite his perils with intellectual paradoxes, sought to understand these rigid entities that seemed to have variant positions on God’s goodness and temporal nature. Although Augustine eventually found refuge in Catholicism, nevertheless, he continued to explore the relationship between Gods benevolence and human dependence, even until his death.
Saint Augustine’s Confessions are a diverse mix of autobiography, philosophy, and interpretation of the Christian Bible. The first nine Books of the work follow the story of Augustine 's life, from his birth (354 A.D.) up to the events that took place just after his conversion to Catholicism (386 A.D.). Born and raised in Thagaste, in eastern Algeria, he has one brother named Navigius, and two sisters. His father, Patricus, a small landowner and an official of the local government is still a pagan. Monica, his mother is a devout Christian. Augustine starts off by praising to God and that it is the natural desire of all men. Yet Augustine does not have a lot of knowledge about God because he felt that he was powerless for God to come to him
In the Elizabethan era, the expectations for woman were limited to being a housewife and a mother. Women were expected to obey their husbands. These expectations, and the person Lady Macbeth actually was, are polar opposites. Lady Macbeth did rely on Macbeth, but she only relied on him because she could only obtain her power through him. The methods she used to obtain this power go against the stereotypical Elizabethan woman. She used deceit to convince her husband to commit the first murder, saying that she would “chastise [him] with the valour of [her] tongue.” (I,v, 26) What convinced him to go through with the murder, however, was when Lady Macbeth laid out the plan for him. (I,vii,60-72) After the murder occurred, it was Lady Macbeth who took control, while Macbeth was extremely shaken. She returned the daggers to the chamberlains, then again insulted Macbeth, saying she would be ashamed “[t]o wear a heart so white.” (II,ii,68) She then ordered him to wash his hands, telling him, “[a] little water clears us of this deed.” (II,ii, 70) Macbeth’s inability to stand up to Lady Macbeth showed that she had complete control over him. This was not expected of an Elizabethan wife.
Macbeth refers to his wife as “my dearest partner of greatness” in Act 1 Scene 5. This suggests that Macbeth considers his wife and him equal in authority. The word “greatness” leads me to believe that their co-operation and respect has led them to greatness, and Macbeth sees his wife as a major part of his success. On the contrary, Macduff and his wife’s relationship is a lot more conventional, as Lady Macduff is used as his commodity rather than a partner in Macduff’s success. This could suggest that femininity is traditionally viewed as weak, but in the case of Macbeth and his wife it appears to be a much more modern, equal relationship.
Judith Butler’s concept of gender performativity suggests that there is a distinction between “sex, as a biological facticity, and gender, as the cultural interpretation or signification of that facticity” (Butler, 522). Performing certain actions that society associates with a specific gender marks you as that gender. In this way, gender is socially constructed. Alfar defines the societal expectation of women as the “constant and unquestioning feminine compliance with the desires of the masculine” (114). Considering Macbeth from a modern perspective and taking this distinction into account, it is necessary to determine if the play is concerned with sex or with gender. Before the action of the play even begins, the audience is warned that “Fair is foul, and foul is fair” (1.1.11). The first scene of the play casts the world of Macbeth as a land where everything is opposite or disordered. This line at the very start of the play cautions audiences to not take the play at face value because things are not always as they appear to be. Because of this, “all the binaries become complicated, divisions blurred. Thus the binary nature of gender identities, male/female, is eliminated” (Reaves 14). In the world of Macbeth, the typical gender constructions are manipulated and atypical. If the play does not deal with sex, the qualities of Lady Macbeth cannot be applied to all women but rather, representative of society’s construction of gender, “the patriarch, and the limited, restrictive roles of women” (Reaves 11). Within this reading of Lady Macbeth, Shakespeare’s examination and questioning of gender construction allows modern day readers to recognize the enduring relevance of
Throughout history women have fought for the same rights of men. In the time of William Shakespeare they were seen in society as weak and vulnerable. They were seen to be good, caring and not as powerful as men. Men were the superior and ruled the land. Shakespeare has taken the stereotypical image of the women of the time and turned it on its head in ‘Macbeth’. Lady Macbeth is shown as a very powerful, strong woman. She has an evil about her that Shakespeare has used to make ‘Macbeth’ a supernatural play. Women were seen to be good and not as powerful as men, in ‘Macbeth’ Lady Macbeth is the dominate character and commands and persuades Macbeth to commit the murders and crimes that he does.
The story of Lady Macbeth throughout Macbeth is one unlike those of its time in its unusually forward-thinking portrayal of a woman with thoughts and actions which would have been considered indecent. This is seen through the representation of her relationship with Macbeth and how they interact. It is also illustrated through Lady Macbeth’s morals and their effect on how she acts and reacts in situations which would weigh heavily on most peoples’ conscious. Her power-hungry attitude is one often reserved for men, especially in this era of literature. All of these factors create a character in Lady Macbeth which is dissimilar to the classic portrayal of women in the seventeenth century.
Throughout the historical literary periods, many writers underrepresented and undervalued the role of women in society, even more, they did not choose to yield the benefits of the numerous uses of the female character concerning the roles which women could accomplish as plot devices and literary tools. William Shakespeare was one playwright who found several uses for female characters in his works. Despite the fact that in Shakespeare's history play, Richard II, he did not use women in order to implement the facts regarding the historical events. Instead, he focused the use of women roles by making it clear that female characters significantly enriched the literary and theatrical facets of his work. Furthermore in Shakespeare’s history play, King Richard II, many critics have debated the role that women play, especially the queen. One of the arguments is that Shakespeare uses the queen’s role as every women’s role to show domestic life and emotion. Jo McMurtry explains the role of all women in his book, Understanding Shakespeare’s England A Companion for the American Reader, he states, “Women were seen, legally and socially, as wives. Marriage was a permanent state” (5). McMurtry argues that every woman’s role in the Elizabethan society is understood to be a legal permanent state that is socially correct as wives and mothers. Other critics believe that the role of the queen was to soften King Richard II’s personality for the nobles and commoners opinion of him. Shakespeare gives the queen only a few speaking scenes with limited lines in Acts two, four, and five through-out the play. Also, she is mentioned only a few times by several other of the characters of the play and is in multiple scenes wit...
Neely, Carol Thomas. “Shakespeare’s Women: Historical Facts and Dramatic Representations.” Shakespeare’s Personality. Ed. Norman N. Holland, Sidney Homan, and Bernard J. Paris. Berkeley: University of California Press, 1989. 116-134.
The play Macbeth is set during the Renaissance Era in Scotland. During the Renaissance Era, women did not have a role is society; they were invisible in the eyes of men. Men managed the public life and went to work, while women were expected to stay at home and take care of household responsibilities. A perfect example of a Jacobean woman is Lady Macduff. Lady Macduff perfectly fits the stereotypical, maternal figure. For example, She has five children that she loves very much. Her love towards her children is shown when she calls her son, “poor monkey”(Macbeth, IV,II,64), which is a term of endearment. Unlike Lady Macduff, Lady Macbeth has no children or a kind heart. Lady Macbeth, to prove her power and strength says, “I would, while it (my child) was smiling in my face, have plucked my nipple from his boneless gums and dashed t...