Gatsby Gender Roles

These words and the entire alliance between Demetrius and Helena have the subtext of a sexually sadistic and masochistic relationship (Greene et al. 151). This correlation leaves little in Helena to be admired by feminist critics. Her only intelligent scene in the play spawns from her discovery of the Athenian lads' infatuation with her as she screams, "Can you not hate me, as I know you do/ But you must join in souls to mock me too?" (III.ii.149-150).

In Oresteia by Aeschylus, the Greek play, gender roles are depicted as both atypical and typical of the male and female standard

In Shakespeare?s play, numerous examples were given as to how the women are treated like second class citizens. Those examples are concurrent with the Elizabethan time period pertaining to the rules of dating and marriage, respect for elders, and obedience to figures of authority. Children were the property of their parents, and gave them the respect that a servant might give to his master. This was a time when male domination was the norm. In this patriarchal society, women had very little, if any, choice in whom their husbands were to be. In order for families to benefit, marriages were arranged. Shakespeare demonstrates this in the relationships between the dominant Theseus, Egeus, and Oberon and the characters they attempt to control. Egeus demands that his daughter, Hermia, must either marry Demetrius or answer to Athenian law. Theseus orders that if Hermia does not marry his son, she will face death or be sent to a nunnery. Oberon, the king of fairies, after arguing with his Titania over an Indian boy, decides that he will disregard her wants and attempt to control her without

Helena believes she is inferior to Demetrius. Helena constantly compares herself to Hermia, since Demetrius and Lysander are in love with Hermia and Helena has no admirers. In Act 3, the four lovers arrive in the woods, since Demetrius chases Hermia and Lysander before they get married. Helena follows, and the four Athenians end up together. A love potion is given to Lysander and Demetrius earlier in the play by a fairy, causing them to love Helena. In a state of confusion, Helena exclaims, “If you were civil and knew courtesy, / You would not do me thus much injury. / Can you not hate me, as I know you do, / But you must join in souls to mock me too?” (3.2.149-52). Helena is aware of the hate people have for her and feels insecure about the men suddenly loving her. Her lack of love convinces her the affection shown cannot be genuine. Helena says to herself “No, no, I am as ugly as a bear; / For beasts that meet me run away for fear: / Therefore no marvel though Demetrius / Do, as a monster fly my presence thus” (2.2.66-70). Helena thinks she is ugly and lesser then the people around her, since Hermia is loved more and Demetrius despises her. The insecurity shown in her demeanor is a large part of Helena’s

F. Scott Fitzgerald, author of The Great Gatsby, illustrates most women in his novels in a incredibly negative light. He portrays them as dependent upon men, selfish, and completely amoral. Jay Gatsby is in love with the wealthy Mrs. Daisy Buchannan and tries to win her love by proving that he is wealthy. However, no matter how wealthy he becomes, or how many gigantic parties he throws, he is still never good enough for Daisy. The story ends in tragedy as Gatsby is killed and dies utterly alone. Fitzgerald's characterization of Daisy, Myrtle, and Jordan in The Great Gatsby demonstrates women who are objectified by men and treated as their trophies, while also

Regardless of social class, race, age, and prior achievements, women have been oppressed and enslaved by men . Although few exceptions exist, such as Queen Elizabeth I for whom Shakespeare wrote plays, most women did not have political influence, couldn’t inherit land or property, and were even treated as properties themselves. In Shakespeare’s play Titus Andronicus, female characters, including Lavinia and Tamora, are portrayed as possessions and properties to be used and traded for personal gain. Whereas Lavinia is submissive to her role of a helpless victim, Tamora perseveres to achieve some level of dominance by appropriating male power through her marriage to Saturninus. Tamora’s acts against the Roman patriarchy expose the masculine instability

In cases of social injustice, there are the oppressors and there are the oppressed. Such is the case in the world of The Great Gatsby, where gender norms shape the dynamic of all romantic relationships.Fitzgerald’s novel reflects pervasive gender norms that are still in place today. One of these constructs is the role of women versus men in marriage. Husbands are supposed to be violent and commanding, and their wives are supposed to be quiet and happy. Male characters see opportunity in this construct -- they use it to their advantage or as a way to establish power and reputation. Characters like Gatsby and Tom want relationships with women that reflect their relationship with money and success. When Myrtle tries to manipulate her affair

Helena and Hermia are exceptions to women not being foolish. Often, these women were bickering over which man loved who. William Shakespeare wrote, “Through Athens I am thought as fair as she” (I.i.33). Helena often compared herself to Hermia, something almost everyone sees as foolish. Neither Hippolyta nor Titania compare themselves to others, showing that they are not foolish. Also, unlike Hermia and Helena, the women do not fight over petty issues. In Act III, Helena and Hermia fight over whether or not Hermia made the

William Shakespeare’s A Midsummer Night’s Dream is a romantic comedy written in the mid to late 1500’s with the intent to portray love and romance through plays during the era in which it was written. Throughout the five acts multiple characters are introduced from Oberon, Lysander, Titania, Puck, Demetrius, and many more who depict multiple emotions but most importantly romance and marriage. The easiest way to reproduce the mentality of these characters is through one of the brashest quotes said by Titania, and Oberon (4.1.6):

This essay examines the question ‘To what extent does William Shakespeare depict male superiority through Hippolyta and Titania in A Midsummer Night’s Dream?’. The essay commences by looking first at the social and historical context in which the play was written and identifying the methods of research used to obtain the facts and opinions in the essay. The essay continues, discussing the themes of love, relationships and sexuality, focused on the characters of Hippolyta and Titania and how Shakespeare portrays the superiority of males through these two themes and characters. The significance of male dominance in the play is then discussed, looking at how it adds comedy that may not be quite as apparent in a modern day feminist reading of the

Titania shows her loyal side in act II. She speaks of how she came to possess the Indian boy so desired by Oberon, “His mother

Fairies are playful, happy and magical, but some fairies can be mischievious, mean and unmoral. Fairies play a main role in the play A Midsummer Night’s Dream by William Shakespeare. From the love potion causing mix-ups and conflict between two pairs of lovers. Oberon applying a love potion on his own wife, Titania. Pranks Puck enjoys to play, such as turning as innocent character into an ass’ head. By looking at A Midsummer Night’s Dream supernatural, mean- spirited and playful fairies, it is evident that fairies have a great-impact by creating the main conflicts in the play.

They do not have distinct personality traits that are necessary for either role. During each part of the part, Demetrius and Lysander are doing the same thing. Before the magic, they are competing for Hermia. After the magic, they are competing for Helena. The men do not show strong differing character traits like the women in the play. Hermia and Helena are very different in terms of who loves them and how they love others. Hermia is used to being shown affection by them men so it is very hard for her understand the feeling of not being loved. On the other hand, Helena knows what is liked to love someone who does not return the feeling. When the magic makes the men love Helena, she does not believe them simply because the feeling is so unfamiliar. They have to learn to deal with what the other has had to live with before the magic. Hermia has to learn what is feels like to love someone who does not love her and to not have anyone show any affection to her. Helena has to learn to deal with all of this attention she is not used to getting before the magic. The women are not affected by the magic, but do learn what the other has been treated before the magic got to the men. The men are really just pawns of the magic. The magic controls Demetrius and Lysander making them do the same things therefore both of the men play the same

The play also takes Helena’s subplot from A Midsummer Night’s Dream, the woman’s wooing of a man, and makes it the focus of the play. As we read in Montrose’s article, Oberon corrected this gender role swapping because it was not natural, and likewise, the King attempts to make Bertram see the value of Helen, but to no avail. While this play is similar in plot to the Helena arch, the conclusion does not correct the flow of nature; Helen will have to win him. The complicating of gender roles has been a theme of Shakespeare’s, but in this play, it’s the focus.

Shakespeare is famously known for his misogynistic like tendencies when it comes to the portrayal of women in his plays. From the villainous unsteady Lady Macbeth to the violent greedy Regan, women are rarely viewed in a favorable light in his plays. However, in A Midsummer Night’s Dream, this is not the case. Instead of having the women exhibit unfavorable characteristics Shakespeare flips the script and has the men shoulder the burden. In the play, the men, specifically Lysander, Demetrius, and Theseus, are given unbecoming qualities.