John Webster’s The Duchess of Malfi and William Shakespeare’s A Midsummer Night’s Dream women react to authority in significantly different ways. The authors focus both on women showing acceptance to power and women who shy away from it.
In the plays, the Duchess and Hermia defy the abuse of power, while Helena and Cariola submit to it. In John Webster’s The Duchess of Malfi, Webster uses the Duchess to signify courage and Cariola to signify faintheartedness throughout the play. The Duchess has recently lost her husband, the supreme ruler of the land, and has the option to remarry someone else into power. However, the Duchess’s brothers, Ferdinand and the Cardinal, do not want her to remarry to allow themselves to take the power of the
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Additionally, Helena follows Demetrius to beg him for love. Fairies discover Demetrius and Helena while she begs him to take her back, and they take matters into their own hands and use a magic flower to make Demetrius fall in love with her. However, the fairies make a mistake and use the magic flower on Lysander causing him to fall in love with Helena; then, the fairies try to fix their mistake by using the flower on Demetrius to make him fall in love with Helena. This sturs fights between the men with their love for Helena. Finally, the fairies fix their mistake and remove Lysander’s love for Helena and restore his love for Hermia. In the end, Theseus comes upon the four lovers in the woods and lifts the burden off of Hermia allowing the lovers to fall be in love with whomever they choose. In both plays, a courageous woman who defies authority present themselves in the play. In The Duchess of Malfi, the Duchess gets told to not remarry, but she defies her brothers and gets married immediately. Shall this move me? If all my royal kindred lay in my way unto this marriage, I’d make them my low footsteps: and even now, even in this hate, as men in some great battles, by apprehending danger, have achieved almost impossible actions, so i through frights and threatenings will assay this dangerous venture. Let old wives report I winked and chose a Husband.
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In the play, he also insulted Queen Gertrude by having the (player) Queen say that women are distrusting and discomforting to the (player) King when she says “That I distrust you. Yet though I distrust, discomfort you, my lord, it nothing must.” She also tells how women only re-marry for money and not for love and when a remarried woman kisses her new husband it is like killing the first husband all over again when she says “The instances that second marriage move are base respects of thrift, but none of love. A second time I kill my husband dead when second husband kisses me in bed.” The whole kingdom is watching this play making the Queen question whether the audience will realize it’s meant to be the actual King and
The female protagonists in the plays “She stoops to Conquer” by Oliver Goldsmith and “Antigone” by Sophocles are successfully able to reach their goal by behaving according to their environment and behaving to the need of their situation. In the very well written play, “Antigone”, Antigone openly refuses to obey the king and buries the body of her brother, Polyneices. In the interesting play, “She Stoops to Conquer”, Kate Hardcastle makes it her goal to marry a man named Charles Marlow. It is her top priority since he feels relaxed in the company of lower class females. When Kate Hardcastle realized that Charles Marlow has a special preference for lower class females, Kate acts as if she is a lady belonging to a lower class and therefore
Hermia’s speech in Act 2, Scene 2, of Shakespeare 's A Midsummer Night’s Dream, contains an abundance of dream imagery. She has awoken from a terrible dream after falling asleep in the forest with Lysander. They were lost and tired so they decided to rest. Lysander wanted to sleep beside her but, she refused since they are not yet married and while they slept Puck applied a love potion on Lysander’s eyes thinking he was Demetrius. Lysander wakes and is repulsed by the sight of Hermia and never wants to see her again because he is now in love with Helena. Hermia awakes from her terrible dream and retells it thinking that Lysander is nearby listening. Then she realizes that he is not there and she does not see him anywhere. Hermia expresses the sentiment that she will find Lysander or she will surely die. She stated,
Girl Power? The reason for this essay is to elaborate on the dominence of Lady Macbeth especially over her husband Macbeth. Power is a theme used by Shakespeare greatly throughout the play Macbeth. Power in the time and age of Macbeth that was usually held by men , in case of the play there was major girl power happening.
Female gender roles have greatly changed from now and the sixteen hundreds when Shakespeare wrote the popular play Much Ado About Nothing. Women were raised to believe they were inferior to men. Women were taught that men should be the one who brings in money and women should stay home to clean and bare children. Also women were given no choice in who they were to marry or when. Over hundreds of years women realized that they were just as good as men and that they should be treated equally. This essay will cover the analysis of the women’s gender roles in the play Much Ado About Nothing, showing the analysis of Beatrice not following any stereotypes, Hero following all of the stereotypes, and Margaret not getting the same stereotypes as other women because she is a servant.
Shakespeare is trying to show two different women and their power over men at that time
The biggest obstacle in this play occurs when the power of love is challenged by authority. The play starts with Theseus, duke of Athens, being eager to marry Hippolyta, who he wooed with his sword in combat. Although Theseus promises Hippolyta that he will wed her “with pomp, with triumph, with reveling,” true love between them is questionable. By starting the play with Theseus and Hippolyta, Shakespeare hints the audience of the authority involved in their marriage and leaves the audience wonder if they actually love each other. The focus is then shifted to the four lovers: Hermia, Lysander, Demetrius and Helena - by establishing the story of Hermia being forced by her father, Egeus, to marry Demetrius, when the person she actually wants to marry is Lysander. However, Egeus
Does Lysander love me anymore? In an attempt to escape Hermia’s duties as a daughter and a woman, Lysander composes the idea of running away into the forest where his aunt lives while being unaware of the effects it may have on his relationship with Hermia as well as their trust for one another. Living so close to the forest allows not only Hermia and Lysander to escape from their problems but as well as the Athenian people looking to commit a crime or freely express themselves. In the Discussion of Egeus marriage arrangement, Lysander gives Hermia immense confidence for a marriage in the forest assuring her “I could marry you there, gentle Hermia, where the strict laws of Athens can’t touch us.”(I.i.ll 160-1) referring to the strict laws of Athens shows the tremendous lack of freedom towards the citizens of Athens especially women forced into marriage. Agreeing with this plan causes a ray of happiness towards Hermia allowing her to share the secret with her lifelong friend Helena soon revealing her plans to Demetrius, her true love, overflowing him with determination to find Hermia before marrying Lysander. As the four lovers scavage through the forest on the hunt for their cravings disaster strikes as a fairy servant is sent to withdraw the love for Hermia from Demetrius into Helena causing a catastrophic change of fate among Lysander and Hermia. As Lysander walks up with the essence of the flower of love on his eyelids to the presence of Helena in front of him, shapes true love into an illusion. The confrontation of disbelief from Hermia assures she feels “Can you hurt me any more than by saying you hate me? Hate me? Why? What’s happened to you, my love? Am I not Hermia? Aren’t you Lysander?...you still loved me when we fell asleep, but when you woke up you left
Shakespeare’s usage of metaphor and simile in A Midsummer Night’s Dream is best understood as an attempt to provide some useful context for relationships and emotions, most often love and friendship, or the lack thereof. One example of such a usage is in Act 3, Scene 2 of the play. Here, the two Athenian couples wake up in the forest and fall under the effects of the flower, thus confusing the romantic relationships between them. Hermia comes to find her Lysander has fallen for Helena. Hermia suspects that the two have both conspired against her in some cruel joke, and begins lashing out against Helena. She says “We, Hermia, like two artificial gods, / Have with our needles created both one flower, / Both one sampler sitting on one cushion, / Both warbling of one song, both in one key; / As if our hands, our sides, voices, and minds, / Had been incorporate. So we grew together, / Like a double cherry, seeming parted; / But yet a union in partition / Two lovely berries moulded on one stem: / So, with two seeming bodies, but one heart; / Two of the first, like coats in heraldry, / Due but to one, and crowned with one crest.” (Shakespeare 2.3.206-13). Shakespeare writes this list of vibrant metaphors to establish the prior relationship between these two characters and to make it evident how affected Helena is by this unexpected turn of events, as well as to add a greater range of emotion to the comedy, thereby lending it more literary and popular appeal.
One of the most notorious topics of interest in the works of Shakespeare is the role women receive in his plays. The way Shakespeare wrote his plays, women were very submissive to men and had no will and choice of their own. Women were extremely reliant upon the men in their lives, believing that they were inferior and thus following their desire for the women’s lives. This included that marriages were usually arranged by a powerful male, instead of giving the woman the opportunity of choosing marriage for love. It is not surprising that Shakespeare portrayed women in a way that was familiar to him and the time era in which he lived. In A Midsummer Night’s Dream and The Taming of the Shrew, both focus on the development of love and not, with
In the plays, The Duchess of Malfi by John Webster and Midsummer Night’s Dream by William Shakespeare, the main female characters can be put together from either story for easy comparison. The Duchess and Cariola, from The Duchess of Malfi, can be compared to Hermia and Helena, from a Midsummer Night’s Dream, respectively as they serve as foils, even though they appear in different plays. The reaction they have towards authority creates this comparison as they act similarly to each other when it turns against them. The Duchess and Hermia, both devious and defiant, attempts to escape their problems, as others treat Cariola and Helena poorly and cannot deal with the problems when times get tough.
Shakespeare and Webster represent the female characters in ‘Hamlet’ and ‘The duchess of Malfi’ by using general themes such as the patriarchy and the social control, the female identity and its independence, this institution of marriage, the expressions of sexuality and finally women shown to be either conformist or transgressive. Men were firmly in control in the Elizabethan and Jacobean era, and the expectations for women were to stay home, cook, clean and raise a family. Women’s status and roles were subject to the Tyranny of patriarchy, they were given strict disciplinary rules to follow whether by law or unspoken norms to prevent from rebellion. Women’s rights were restricted, legally, socially and economically, unlike today were women are more powerful and independent. Today women and men are seen to be equal and women can do pretty much everything a man can do (voting, working, becoming president) although there are many people still today who disagree with women having these rights.
Women have a specific role throughout the Elizabethan society and are known as inferior. In Shakespeare’s play, A Midsummer Nights Dream, women are told how to act by men, that reveals superiority towards men. This is portrayed by the characters-Hermia, Helena, and Titiana throughout the play. These characters were represented as powerless and blind because they fail to receive what they what and are told what to do countless amounts by the men in the play. Women's’ inferiority in the play makes it impossible for them to achieve true happiness attributable to the superiority the men in the play believe they have.
Shakespeare and the members of the Elizabethan era would be appalled at the freedoms women experience today. The docility of Elizabethan women is almost a forgotten way of life. What we see throughout Shakespeare’s plays is an insight into the female character as perceived by Elizabethan culture. Shakespeare’s female characters reflect the Elizabethan era’s image of women; they were to be virtuous and obedient and those that were not were portrayed as undesirable and even evil.
In Webster’s The Duchess of Malfi, the forces of good and evil seem to be constantly at war. From the beginning of Act I to the end of Act V, the audience witnesses these two elements struggle against one another through each character’s actions or intentions as well as through various points of imagery. Despite the fact that the Duchess is murdered at the end of Act IV, Act V reveals that even in times of immense tragedy and evil-doing, good ultimately conquers all.