Miranda is the Only Woman in William Shakespeare’s Play, The Tempes

The basis of Shakespeare’s plays appears to focus mainly around the dominant male character and his conflicts, which tend to deal with a woman. There are only three women in the play Othello; Desdemona, Emilia and Bianca. The way in which these women behave and present themselves strongly reflects the ideological expectations of women within Shakespeare’s imagined Venetian society as well as the Elizabethan society in which he lived. This patriarchal Venetian society presented in the play depicts women as possessions of men who should remain submissive and meek at all times. The women are expected to unselfishly and unreservedly devote their lives to serve their fathers until they are of age to do so, their husbands. All three women love

In the reader's first encounter with Miranda and Prospero, it is clear that she suspects he's caused this tempest to occur. (1.2.1) Miranda is displeased because she thinks Prospero has used his magic to stir up the seas. Prospero never denies he caused the tempest, but he never openly admits it either. Instead, he offers the conventional response of Shakespearean love: "I did it for you." (1.2.16) Typically, such a response would not take place in the vertical parental relationship, but rather between lovers or potential lovers. (see Richard III : 1.2.138) Shakespeare's use of this response from a father to a daughter alludes to a break in the traditional make-up of the father-daughter relationship. And thus, it is important to examine.

Yet her compassion, as real as it is, also has a certain element of shallowness, or at least inexperience about it. She has lived the majority of her life in isolation, on an island known with her only companionship being that of her father. Growing up on this deserted island, Miranda learns to live and abide by the example set by Prospero. He is her only contact with the humanity and therefore he is her only friend and teacher. She knows no other woman and therefore had no female figure to aid the process of raising her. She is naïve and unaware of life's experiences, having been shielded from the rest of the world.      

In the play ‘Othello’ written by William Shakespeare, we see not only the main male character leads. But we also see the female characters, Desdemona, Emilia, and Bianca. These three women were portrayed in ways that showed them being inferior to the other male roles as well as society during the Elizabethan Era. But Shakespeare made each of these individual ladies characteristics quite unique to one another having the traits of a feminist. Even though in the play we read how the male characters did somewhat control them and made them look weak compared to them, there were moments where Desdemona, Emilia and Bianca stood up for themselves.

As a Renaissance woman protagonist, she acts within an completely male world: "I do not know/ One of my sex; no woman's face remember" (3.1.48-49).  While no other women appear in the play, references are made to other women, but the count here is still minimal and sums up to three.  Miranda speaks of the lack of female companionship around her because of her location, but simultaneously the audience sees that the references to women that do occur within the play often have a sinister purpose for appearing within the lines.  The other women mentioned in the play seem to provide a sort of dark cloak over the proceedings of the play, even if they are completely absent.  Regardless, Miranda, as the only physical woman in the play the audience actually sees and hears, is described by Prospero with kind words, and few, if any, negative imagery revolves around the appearance of the innocent Miranda.  For example, Prospero informs Miranda that this "Art" is prompted by his concern for her; "I have done nothing but in care of thee" (1.2.16).  Prospero also tells Miranda that his mistreatment and harshness toward Caliban stems from the fact that Caliban attempted to rape Miranda and Prospero wants to protect her from any harm that could come about from Caliban.(1.2.347-51).  Prospero also indicates that Miranda, to him, is "a third of mine own life,/ Or that for which I live" (4.1.3-4); therefore after she is

The role of motherhood in the movie is powerful than the play, which we can see in Act 4, Scene 1 when Prospero approves the love Miranda and Ferdinand declares, however points out a harsh warning to Ferdinand. In the movie, because of the female character, it is easier to make the connection of mother and daughter. By switching the gender in this movie, it lead women characters have a sexual power and empowerment, which was none in the play caused by the pressure made in the Elizabethan Era. Taymor, director of “The Tempest” adds; “I didn't really have a male actor that excited me in mind, and yet there had been a couple of phenomenal females—Helen Mirren being one of them—who [made me think]: 'My God, does this play change? What happens if you make that role into a female role?” (Roger) By casting Prospera, instead of Prospero changed the main themes such as power and sexual empowerment, also the voice of Shakespeare in Prospero, whom he is sometimes occurred as.

In Shakespeare’s Othello, the nominal character, an honorable Venetian general, is driven to madness through the deceptions of his honest right hand Iago. Iago plots to ruin Othello and through his deception, he drives Othello’s insecurities by implanting the idea of infidelity of his beloved wife Desdemona. Othello goes on to murder his wife, and after he discovers Iago’s plot, he kills himself. In a time when women were looked down upon, Shakespeare crafted a drama in which women took part in major roles. Modeled by Elizabethan England the women in Othello were portrayed in a light justified by society as in Othello, these women were nothing more to than objectified possessions, forced to submit to the ever dying will of their husbands. This is displayed by Desdemona and Emilia’s and relationships with their husbands.

Emilia is often dubbed as “the feminist of Othello” by a scholars and critics because of her, seemingly, fiery independence among a sea of submissive women (Caitlyn, Act Four: The Feminist of Othello). The characterization of a woman who speaks out for herself suggests that Shakespeare thought progressively as during that time women were mere objects rather than human beings. The plot of Othello revolves around the misgivings of poor communication and lack of trust among the characters. Tragedy ensues, as it does in all of Shakespeare's works, but could it have been prevented? Report after report applaud Shakespeare for developing a true feminist role model, however sometimes a character who has attitude gets mistaken for honorable. This poses the question, does Emilia truly deserve the title as of a feminist?

Othello, by William Shakespeare is well known for its richness in literary content and elements pertinent to societal ideas. Moreover, women are portrayed in Othello in ways that confirm, but also contradict their treatment in Shakespeare’s time. Both female action and language represent these ideas such as expectations for a wife and expectations for how a woman is to act. That said, there are many other lines spoken by these characters that defy the expectations placed on women at time. Overall, the feminist critical lens allows a reader to understand Othello and the manner in which it is slightly sexist and controversial. This lens allows the reader to observe both discrepancies of how women are treated, and common characteristics found

In Macbeth, one of the most tragic and well known plays, William Shakespeare changes women’s part in society. During this time period, women are known to be both mentally and physically weaker than men. Women are called to be only housewives. Shakespeare reflected the image of women in society by giving the men bigger leads in his plays. Only in a few of Shakespeare's plays did he give women strong leading roles. Macbeth is one of the few plays where women play a more powerful role than the men. In Macbeth, he gives the women unusual traits like manipulation and betrayal. In William Shakespeare's play Macbeth, women like Lady Macbeth , the trio witches, and Lady Macduff portray non-feminine traits.

In the book “Gender Trouble” (1990), feminist theorist Judith Butler explains “gender is not only a social construct, but also a kind of performance such as a show we put on, a costume or disguise we wear” (Butler). In other words, gender is a performance, an act, and costumes, not the main aspect of essential identity. By understanding this theory of gender as an act, performance, we can see how gender has greatly impacted the outcome of the play in William Shakespeare’s Othello. From a careful analysis of the story, tragedy in Othello is result of violating expected gender roles, gender performance by Desdemona and Othello, and the result of Iago’s inability to tolerate these violations.

William Shakespeare's “The Tempest” examines patriarchy through gender and class. The patriarchal system enables men to have absolute rule over the women within their lives. In the play, Prospero exercises his rights as a father to control Miranda’s love and enact self-righteous deeds. Moreover, Prospero's patriarchal rule does not halt within his family, but rather encompasses the entire kingdom of the island of which he rules. “The Tempest” forces readers to acknowledge paternal patriarchies. Thus making one examine the ways in which the female gender is discredited by the male characters within the text.

William Shakespeare’s “The Tempest” speaks about multiple authoritative relationships throughout the play and the abuse of power and authority. The main character Prospero lives on a deserted island with his daughter Miranda. Prospero used to be the Duke of Milan until he has been usurped by his brother Antonio with the help Alonso the King of Naples and his brother Sebastian. Prospero and Miranda were banished to sea in a rotten boat and eventually lands in a deserted island who was once ruled by a witch named Sycorax but is now only inhabited by her son Caliban and a spirit named Ariel. Since arriving at the island, Prospero has been ruling the island and enslaved Caliban and Ariel by the use of magic. He acts as if he is God by creating a storm in order to shipwreck the King of Naples and Antonio. Prospero uses his powers to get revenge on his brother for having been exiled to the island. Prospero is a controlling character who seems to be obsessed with getting revenge in order to regain his status. He abuses his authority and takes advantage of his slaves and his daughter Miranda to fulfil his evil plan.

There are only three female characters in William Shakespeare's play Othello, Desdemona, Othello’s wife, Emilia, Iago’s wife and Desdemona’s lady-in-waiting, and Bianca, a courtesan. When first introduced to this limited number of representatives of the female gender, it is quickly assumed that they will not be very present or have an important role in story. In addition, the male characters of the play see women as submissive and promiscuous possessions that should be controlled by either their fathers or spouses. However Shakespeare’s female characters are shown to question male authority and to have the ability to speak for themselves, which could be seen as feminist statement during the Elizabethan time that Shakespeare lived in.

Since the beginning of time, there have been distinct divisions in the roles of men and women. Even dating back to early civilization, women have been portrayed by society as objects of desire. In the Renaissance period, the ideas about women and gender roles are still quite similar and the plays of Shakespeare can be used as a looking glass upon the acts of Renaissance society. Women were said to be concerned about their status as well as their identity which was said to be based solely upon the husband. In the Merchant of Venice, Shakespeare proves that not only can a woman be beautiful, but she can also be powerful, capable of overcoming similar obstacles as men, and above all else intelligent. Shakespeare appears to convey the true definition of feminism by creating heroic attributes in Portia, the heiress of Belmont, qualities that surpass other women of her time. A few of these traits would be perseverance, strength, resourcefulness, and the ability to put others before oneself. She defies and breaks the mold of traditional gender roles placed in a Renaissance society and illustrates admirable qualities that for centuries have gone unnoticed.