The Forms Of Femininity In Shakespeare English Literature Essay

The Forms Of Femininity In Shakespe be English books EssayMany modern critics claim that Shakespeargon was a pivirtuosoering womens liberationist. Shapiro claimed that Shakespe atomic number 18 was the noblest feminist of them in entirely (Shapiro,1994,p111). Whilst this claim is supported by various Shakespeargonan works, this essay bequeath mean that whilst his works coffin nail be interpreted as displaying feminist attitudes, whether these maidenlys atomic number 18 penalize for displaying this transgressive behaviour.Over the centuries various empires and societies, such as incorrupt Rome and ancient Egypt, were been built upon the foundation of a immemorial ships company. These societies were free burning through the oppression of women, as they were continually treated as flake class citizens, which pushed women towards acts of rebellion when they felt particularly mistreated. These determinedtings indeed made an excellent backdrop for Shakespeare to project th e attitudes of a priapic-dominated seventeenth century decree.This technique occurs passim Shakespeares plays, but is particularly evident in Titus Andronicus, where Tamora is motivated to act against a venerable cabaret by the re grimions that she is forced to obligate to. Her actions are w whereforece punished by further repression, depicting the infectiveness of her actions against the dominant patriarchic articulate. Antony and Cleopatra withal illustrates this battle of femininity against a patriarchal confederation, using roman letterss once again to represent the domineering antheral force. Shakespeare allows twain Antony and Cleopatra to break free from their uninventive roles by inverting their g reverseers, to create 2 slips that possess traits from both sexes so they drivel to fit into their tralatitious roles. Lastly I volition look at Gertrude in the Hamlet, where Shakespeare depicts the effects of one charrs transgressive actions on the patriarc hal order.To appreciate wherefore the actions of women in these plays are so subversive, and to comprehend the reactions of the virile characters in the plays, it is zippy to understand the position of women in Shakespeares federation. Despite that both of Shakespeares plays were non set in the seventeenth century, his depiction of women would have been influenced by the society in which he lived. The general view was that there was a hierarchy of intimateitys, with males at the top, in Miltons words Not contact, as their sex non equal seemed (Milton, 2008, p41). monastic order established woman as weaker, inferior and in inquire of manful guidance and this was voiced as firmly by women, as by men (Keeble,1994,106). This essay will picture how the female characters transgressed from their stereotypical roles, and consider how and more intriguingly, why, these characters were punished for their perceived transgression.Shakespeares Antony and Cleopatra is believed to have been written in 1606 after a distinguished sequence of tragedies including Othello, King Lear and Macbeth (Farrell, 2004, p23). Shakespeare uses the play to consider the effects of a patriarchal society, and skilfully inverts gender roles so that it is the male, Antony, that is the victim. The patriarchal society of Rome expects Antony to only display his masculinity, and non to succumb to female qualities such as passion, feelings and love. When he develops a world-beaterful love for Cleopatra, Antony is no longer able to run by the stifling society, where the role of yellowish brown is considered inferior to a mans policy-making responsibilities.The opening lines of the play demonstrates the rising criticism of Antonys unconventional, or feminine, behaviour which is not confined within the measure of patriarchy, nay but this dotage of our Generals / Oerflows the measure (Shakespeare, 2001,1.1.56). The males view Antonys dedication to Cleopatra as disgraceful, His captains center become the bellows and the fan / To cool a gipsys lust (Shakespeare, 2001, 1.1.22). Antony in addition occasionally judges himself by these standards of patriarchy, such as at the end of the play where he is miserable and shamed by his reduced political power. He then becomes envious and irrational and claims that Cleopatra has emasculated him, O thy anxious lady, / She has robbed me of my sword (Shakespeare, 2001, 4.14.2). Eventually Antony chooses love over political power, as Antony is not debased by his loss of power, but rather, through his love of Cleopatra develops a stronger sense of manhood, ran alternative masculinity(Woodbridge,1994,p34). notwithstanding the reaction of the males within the Roman society generates that this feminine transgression is not suitable for a male in a patriarchal society.Whilst Antony displays feminine characteristics, Cleopatra transgresses her female role by exhibiting manful virtues to counterbalance Antony and provide a relatio nship of surprising equality. Cleopatra, and the relationship, does not abide by the restrictions of a seventeenth century, patriarchal society. Their relationship blurs the roles of male and female by inverting gender roles, Cleopatra embraces man manage features, as Woodbridge states, Antony and Cleopatra weed cross gender boundaries without losing their sex roles as man or woman (Woodbridge,1994,p45). This gender sexual inversion is physically depicted in the scene where Cleopatra, wore his sword Philipan(Shakespeare, 2001, 2.5.30), this displays how Shakespeare clearly identifies masculine qualities within a female. Unlike many of Shakespeares female characters, Cleopatra dominates the play in terms of individual presence and theme. Also Shakespeare provided the audience with a in truth woman, as opposed to a stereotype, Velma Richmond claims further that in Cleopatra we corporation find Shakespeares finest embracing of the feminine(Richmond, 1991, p139). Cleopatra is a mi xture of political prowess and sexual power however this sexuality is condemned by the males in the play as she is referred to as a whore (Shakespeare, 2001, 1.1.1.32) and a strumpet (Shakespeare, 2001, 1.1.1.32) throughout the play. However this sexual power is presented positively on occasion, such as Enorbarbuss rendering of herAge cannot wither her,Nor custom stale her infinite variety. Other women scare offThe appetites they feed, but she slays hungryWhere most she satisfies. For vilest thingsBecome themselves in her, that the holy priests sign up she is riggish. (Shakespeare, 2001, 2.2.43).Cleopatra declines to obey to the stereotype of a woman created by a patriarchal society, and uses her natural sexuality to gain power rather than allow it to be detrimental to her character. She overly is intent on accomplishing a political role, patronage the objections of the patriarchal men. This is clearly depicted when Enoebarbus try outs to stop her from carrying out her politica l role, and Cleopatra responds in a furious tiradeA charge we bear ithwar,And as the president of my kingdom willAppear there for a man. converse not against it.I will not stay behind (Shakespeare, 3.4.44)Cleopatra therefore forces her admittance into the male arena against the wishes of the patriarchal society. Obedience and silence were real much part of the patriarchal conception of femininity, a conception of which Cleopatra refuses to adhere to. She contrasts the traditional silent woman Cleopatra ensures that her voice is heard. She mocks Antony and quarrels with him. Challenging him with a masculine aggression when they argue I would I had thine inches. Thou shouldst know/ in that respect were a heart in Egypt(Shakespeare, 2001, 1.3.10). Spirited and passionate, such displays of assertion as her physical attack on the messenger informing her of Antonys marriage to Octavia are a far cry from the passive silent role of the feminine in patriarchal society. In passionate disbe lief and anger, she draws a lingua on the messenger and strikes him with her bare consecrates. Charmian tries to appease her by telling her unspoiled madam keep yourself within yourself (Shakespeare, 2001, 2.5.55), but Cleopatra escapes the bounds of self-composure and the repression of self-hood.Shakespeare uses Cleopatras ending to portray her lowest act of noncompliance against the patriarchal society, as she emphasizes her individual identity operator. Her oddment develops into a victory over Caesar, who symbolises patriarchal Rome, as when the guard is confronted with the perspective of her devastation he exclaims Caesars beguiled(Shakespeare, 2001, 5.2.33). Cleopatras death allows her to rise above the repression of society she embraces her death as positive rather than with sadnessMy desolation does begin to make a better life. . . And it is greatTo do that thing that ends all other deeds,Which shackles accidents and bolts up change (Shakespeare, 2001, 5.2.76)Even in death Cleopatra merges both feminine and masculine features, as she declares to take on male qualities of rationalness and strength, I have nothing of woman in me. Now from bespeak to foot/ I am marble constant (Shakespeare, 2001, 5.1.22). She chooses to reject the traditional feminine qualities of water and the changeability of the moon (Ott,2001,p21) and changes herself into air and fire (Shakespeare,2001, 5.1.43). so she embraces masculinity and Rome by dying in the True Roman fashion (Ott,2001,p20). However Shakespeare is also able to illustrate her portrayal of the power of womanhood, by adapting the image of death into a portrait of sensuality and motherhood. The paroxysm that she suffers is draw as a lovers pinch (Shakespeare, 2001, 5.1.10) and the asp is depicted as a baby at my breast/That sucks the nurse asleep (Shakespeare, 2001, 5.1.9). Her death is so poignant that even Caesar, the symbol of patriarchy, acknowledges her valour and the irrefutable gravitas of t he woman who Took her own way (Shakespeare, 2001, 5.1.68). This representation of womanhood shows how Cleopatra transcends the stereotype of women in Shakespeares time. Despite that she meets her death at the end of the play Shakespeare ensures that her mixture of masculine and femininity is ultimately respected by Caesar. She escapes punishment for displaying masculine traits, and hence transgressing her role of female, by having the power to take her own life. The respect shown by Caesar is perhaps Shakespeares own view, that this woman, who refuses to abide by the role that a patriarchal society has given her, should be admired. The description throughout the play of Cleopatra shows her in a strong and positive lightIn Titus Andronicus, the character Tamora does not abide by the role of a proper woman in a seventeenth century society. Tamora feels as though she has been ill-treated and subdue by the acts of a patriarchal society. Her actions in the play are an drive to gain se veral(prenominal) kind of equality, however ultimately she meets her death as a consequence, perhaps proving the futility of such resistance in a male dominated landscape.The death of Tamoras son Arlarbus, we have performed/Our Roman rites Alarbus limbs are lopped/And innards feed the sacrificing fire (Shakespeare, 2001, 1.1.145) serves as the basis of the plot, as Tamora plots her revenge on Titus for this act of barbarity. However Tamora must establish herself within the patriarchal society to gain the necessary power to exact her revenge. This movement corresponds to the masculinisation of her character as Lavinia says to her O Tamora, thou bearest a womans face, before being break up (Shakespeare, 2001. 2.2.135). This disruption of normative gender traits in part relates to the threat Tamora poses as a sexually experienced woman, compared to the submissive Lavinia. This factor, combined with her visibly feminine position as a mother, leads Titus to form his unique, cannibalis tic strategy for revenge. The maltreatment that Lavinia throws at Tamora is based upon the presumption of a binary system (Ott, 2001, p77). Lavinia is the unmistakable stereotypical female this is evident from the beginning of the play where she is the victim of a patriarchal struggle and the bargaining chip (Ott, 2001, p77) in a married dispute. Tamora contrasts Lavinia, in that she possesses the sexuality and body of a woman, but as revenge consumes her she abandons the restrictions placed upon her and transgresses her feminine role. Tamora and Lavinia serve as polar opposite representations of women, the spry Tamora and the passive Lavinia.Shakespeare effectively gives a platform to question gender identity within the playWhen agreed-upon identities or agreed-upon dialogic structures, through which already established identities are communicated, no longer do the theme or pillowcase of politics, then identities can come into being and dissolve depending on the concrete pract ices that constitute them (Butler,2004, p28)This is relatable to Tamora as her character is a stereotypical woman that has been unhinged by her vengeful actions. The obedient identities, which come into being and dissolve(Butler, 2004,p28), rely upon the supposition of other characters most strongly in the character of Tamora, as the volatile temper of her character is shown to be based upon her visual female features, and the performative expectations set upon her as a woman.According to Butlers theory the continuing violence and vengeance via media the concrete practices that create identity. The incessant compliance to the female role shown by Lavinia, after her rape and maiming, seal her designate as she is killed by Titus at the end of the play. Whilst Tamoras choice to refuse the female role ensures that she meets a as tumefy as grisly fate. Shakespeare uses both female characters as bodies on which he can project the power of a patriarchal society upon, as Tamoras reject ion of it is contrasted to Lavinias adoption of it.Tamoras clearest rejection of the patriarchal society is her sexual freedom, as Renaissance society viewed women as possessed of a goodish, potentially profuse sexuality (Henderson, 1985, p66). An illustration of this disruptive power is when she gives birth to a fry fathered by Aaron, the child is described as as loathsome as a toad/Amongst the fair-faced breeders of our clime, (Shakespeare, 2001, 4.2.59). This suggests that the child has a mixed ethnicity her transgressive actions are damned by the patriarchal societyDEMETRIUS By this our mother is for ever shamed.CHIRON Rome will despise her for this dingy escape.NURSE The emperor in his rage will doom her death.(Shakespeare, 2001, 4.2.111)Society may have had a different reaction if Saturninus had been culpable of having a secret child, however as Tamora has shown her sexual freedom through her actions, she will be condemned. Her promiscuity marks her as a threat to the ma le controlled society as it signifies that she will not allow a man, or society to control her. Her control over men is demonstrated repeatedly as she manipulates Saturninus, Aaron and her sons. Her affair with Aaron is a direct attack against the oppression the Romans would attempt to force on her. Tamoras reaction to her newborn son is a gripping example of female independence she realizes the danger that giving birth to a mixed race, bastard child will place her in and she refuses to be caught in this trap. Tamora kind of opts to save herself, by sacrificing her child, The empress sends it thee, thy stamp, thy seal/ And bids thee christen it with thy daggers heighten (Shakespeare, 2001,4.2.61) while this action seems cruel and heartless it is even-tempered a supreme move. Women were expected to be wives and mothers, and a womans child should be her most valued possessionIn Titus Andronicus Shakespeare uses both of the main females bodies as physical metaphors for the stren gth of males in society. Lavinias body is used as an inscriptive site Titus asks Saturninus Was it well do of rash Virginius/To slay his own daughter with his own right hand/Because she was enforced, stained and deflowered? (Shakespeare, 2001, 5.3.25) before carrying out the duty of Roman patriarchy. The laws of men are written upon Lavinia, with her stumps, disfigured mouth and knife wounds. Tamoras body effectively transforms into a vessel, as when she dies her stomach is filled with her sons remains, the punishment that Titus finds compulsory for transgressing against the patriarchal law. Whilst Tamora is punished harshly for her transgression, Lavinia also suffers despite fulfilling her role.In Shakespeares Hamlet, there are two main female characters. Ophelia embodies femininity, as she obeys the patriarchal society that cares for her and flourishes within its strict boundaries. Gertrude juxtaposes Ophelia, as Shakespeare uses the same technique found in Titus Andronicus, wher eby he uses Tamora and Lavinia as a binary pair to highlight the effect of patriarchy on both the passive and active. Gertrude is negating to the traditional standard of femininity, her rejection of her gender role ultimately leads to the collapse of the patriarchal ordered power structure as well as her own demise.Ophelia is shown to be willing to comply to the patriarchal society, for example when Polonius instructs her not to see Hamlet anymore, she replies I shall obey, my lord, (Shakespeare, 2003, 1.3.139). Gertrude contrasts her attitude and defies the expectations of her role as a woman she is not admired for her beauty, and most importantly she does not attempt to hide her sexuality. When she marries Claudius, Hamlet accuses her of living in in the aim sweat of an enseamed bed (Shakespeare, 2003, 3.5.91). Whilst Gertude may be hurt by these words, she does not deny his accusation. She recognises her identity and does not attempt to lie and conform to what society and Hamle t wants her to be. Gertrude shows more transgression from her feminine role as she rebels against pietism by marrying her own brother as this was considered incestuous as Claudius marries his quondam(prenominal) sister.Gertrude is duly punished for her transgressive actions at the end of the play ,as she insists upon drinking poisoned drink despite her husband informing her do not drink(Shakespeare, 2003,5.3.122). It is fitting that her final act of defiance leads to her pull downfall. She falls dead, revealing Claudius plan and assuring his death. Her disobedience is responsible for causing the death of the king and the collapse of the patriarchal hierarchy. Because of her powerful political position, Gertrudes refusal of her prescribed role has grave consequences.The patriarchal nature of the tender order emphasizes and rewards the obedience of women. Butlers theory can again be apply to Ophelia, as she commits suicide when she loses her father, as he is the source of both o rder and authority. Her identity dissolves when he is gone as his patriarchal views where the concrete in her life, and her personality. Gertrude meets her death as she refuses to bow to authority. She transgresses from her role as a woman by rejecting it and openly exuding her sexuality, similarly to both Tamora and Cleopatra, and is punished for her continued disobedience when she accidentally poisoned.Shakespeares punishment of female transgression is a complex subject to surmise. Whilst the three transgressive female characters in the three plays all meet their death, and hence can be considered to be punished by Shakespeare for transgressing their feminine role, it is not that black and white. Cleopatras death differs from both Tamora and Gertrudes death as she retains the power that she exhibits throughout the play, by taking her own life. Whilst Tamora and Gertrude are punished for transgressing their female role, Cleopatra escapes this fate Caesar, and shows respect for the woman who Took her own way (Shakespeare, 2001, 5.1.68). This could be construed as Shakespeare implying that women should not be chastised for not conforming to the standard female role, but instead be respected. This creates an intriguing dilemma when reading Hamlet and Titus Andronicus as Tamora and Gertrude deaths are not of their own will, and it can be interpreted is their punishment by society for their overt sexuality and disobedience to the patriarchal order. However both women are joined in death by their polar opposites in Ophelia and Lavinia, two women who complied implicitly with the rules of society, and fulfilled their expected role.This essay has considered that by applying Butlers theory, it can be concluded it is because of Tamora and Gertrudes transgression that women who obey society are harmed when it is brought down by others. This makes the two women culpable for their deaths, and adds another dimension to the debate as these women have been punished, yet they did not transgress from their prescribed role. This leads me to conclude that whilst some critics may laud Shakespeare as the first feminist, his ultimate stance is one of confusion. Whilst Cleopatra is presented as a woman able to embody both male and female attributes, she ultimately dies, even though it is by her own hand. Tamora and Gertrude also meet their death for transgressing their role hence my conclusion is that Shakespeare displays the punishment of these women to show that their society is not ready to accept a woman like Cleopatra who is shown to be equal to man, as seventeenth century society is still stuck in the same rigid, patriarchal power structure as depicted in ancient Egypt. His presentation of her is undeniably one of admiration, which leads me to conclude that his punishment of women, innocent or guilty of transgression, is a depiction of a society not yet ready for a trasngressive woman, equal to man and that in seventeenth century society Women who comply with the social order are lost without it those who defy it can know no other sequel than to be lost within it( Dollimore, 2003, p211).