Term Paper on "Shakespeare's Women"

Term Paper 5 pages (1536 words) Sources: 1+

[EXCERPT] . . . .

Shakespeare's Women

There is a virtual myriad of essays and criticisms concerning the women characters in William Shakespeare's plays.

Charlie Steen writes in the September 22, 2002 issue of "Renaissance Quarterly" that "sixteenth-century Christian society becomes a symbol of order which, in postmodern criticism, is condemned as an excuse for misdeeds directed against those who vary from the proper model, and that only those who fit neatly into the white male mold belong, making everyone else "others" (Steen pp).

Desdemona in "Othello," appears on the surface as a typical weak female who is totally submissive to her husband, however she is not truly typically meek. She is actually quite broad minded and assertive, and seems to have no problem in standing up to Othello's jealousy or using her feminine wiles to persuade her husband to forgive Cassio. When Othello strikes her, shouting, "Devil," Desdemona responds to him, saying, "I have not deserved this" (Othello pp). This is not the response of a weak woman. Desdemona never cowers to Othello.

Moreover, she is a bit flirtatious, as is evident in Act II, when she asks Iago, "What wouldst thou write of me, if thou shouldst praise me ... Come, how wouldst thou praise me" (Othello pp). Desdemona is young and appears fully aware of her sexual charms. However, she obviously does not take Othello's jealousy seriously enough to be concerned for her life until it is too late. She pleads with her husband to no avail, saying, "Then heaven Have mercy on me ... And have you mercy too" (Othello pp).

Maurice Hunt writes in March 22, 2003 issue of "Papers on Language & Literature," that "Othello pictures his wife in the arms of a man who has implicitly likened Desdemona to the goddess Venus," and that his jealousy combined with his "humiliating loss of power" results in his instantaneous violence against Desdemona, who simply becomes a scapegoat for Othello's bruised ego (Hunt pp). He refers to his wife as a "subtle whore ... that cunning whore of Venice That married with Othello" (Othello pp). In his mind, Othello feels justified in not only striking his wife, but murdering her as well (Hunt pp).

Desdemona seems like a mere schoolgirl compared to Cleopatra, Queen of Egypt. Cleopatra is regarded by Philo and Demetrius as a temptress, a whore, and even a gypsy, and they believe that she is destructive force upon Antony (Antony pp). She is indeed a seductress who exudes power and sexuality with each breath. According to Enobarbus, when Cleopatra first met Antony, "she pursed up his heart," as she sat in her barge on the river of Cydnus, "the poop was beaten gold; Purple the sails, and so perfumed that the winds were love-sick with them" (Antony pp). Enobarbus goes on to describe how the perfumed scent from the barge lured the citizens and Antony from the marketplace to gaze upon her (Antony pp). Cleopatra is as close to being a goddess as is possible of any mortal, for "age cannot wither her, nor custom stale her infinite variety" (Antony pp). And of her sexual prowess, Shakespeare writes that while "other women cloy the appetites they feed," Cleopatra "make hungry where most she satisfies; for vilest things become themselves in her: that the holy priests bless her when she is riggish" (Antony pp). She can behave at times as an immature spoiled child, yet still captivate her audience with her charms. Cleopatra appears to be all things, seductress goddess as well as formidable leader. Her strength and charisma make her one of Shakespeare's most compelling female characters.

Linda Woodbridge write in the March 22, 1999 issue of "Renaissance Quarterly" that while some critics downplay Cleopatra's importance and agency, she agrees that the Romans may have exaggerated her power in order to justify attacking Antony, a move that "may foreclose the possibility of our celebrating one of Shakespeare's best female figures" (Woodbridge pp). Coppelia Kahn writes that Antony's "fascination with Cleopatra notwithstanding, she also serves as an alibi for gaining the distance from Caesar that he seeks in order to excel him" (Woodbridge pp).

Lenora Inez Brown writes in the May 01, 2001 issue of "American Theatre" that while each British prodcuction acknowledged the blackness of the queen's court, Shakespeare's Egyptian queen was always white (Brown pp). The Royal Shakespeare Company had a history of hiring black actors to represent Cleopatra's race, however Cleopatra was not black, "she was Macedonian Greek ... She didn't have any Egyptian blood" (Brown pp).

The female characters in "The Life and Death of Julius Caesar" are more supporting characters than were portrayed in "Antony and Cleopatra" and "Othello." Neither Calpurnia nor Portia are major characters within the play as were Cleopatra and Desdemona, however they do have their niche within the context of the work. Calpurnia places great investment in superstitions and omens, and so warns her husband of upcoming danger (Julius pp). Calpurnia appears as a mature and intuitive woman, who places her husband's well-being ahead of all else, although Caesar dismisses her advice due to his own ambition and ego. He views her superstitions as rather silly and indulgent, and thus her advice to him becomes a battleground between the two, she is determined to give it and he is determined to dismiss it (Julius pp). Although, on the surface she may appear weak and submissive, this may be simply because her character is not developed as strongly as Desdemona and Cleopatra. Calpurnia has few lines within the play.

Portia appears to be rather high strung, however she is extremely devoted to Brutus. He refers to her as "my true and honourable wife" (Julius pp). She considers herself at one with Brutus, and some may regard her as a feminist, for she is not content to accept a limited role in his life, as evident when she states, "Am I yourself But, as it were, in sort or limitation, To keep with you at meals, comfort your bed, And talk to you sometimes? Dwell I but in the suburbs Of your good pleasure? If it be no more, Portia is Brutus' harlot, not his wife" (Julius pp). She is intuitive and softhearted, yet she is also rather immature and can be seen to lack a firm grasp on reality, hence her suicide. She is far too concerned with public image, both for her husband and for herself. One might classify her as a socialite, determined to climb the ladder of social esteem. Although she tries to escape being placed in the box of wife and daughter, in her ambition to do so, she loses sight of reality and judgement. In other words, if she cannot be what she feels she deserves to be, then she will not "be" at all.

Christy Desmet believes that Shakespeare focuses on the "ambivalent figure of the female" (Desmet pp). Paul Yachnin believes that Shakespeare reflects his views of fifteenth century English political culture within "Antony and Cleopatra" (Yachnin pp). According to Yachnin, "the political and social relations between masters and their subjects places loyalty at the center of the system" (Yachnin pp). He goes onto describe that the language of command also colors the scenes between social equals and that the opening scene derives "its rhythm and psychological interest from Cleopatra's manipulation of the language of command" (Yachnin pp). Lisa Starks points out that "An early modern variation on the theme of dominance and submission, Shakespeare's Antony and Cleopatra typifies the literary narrative of masochism" (Starks pp). She goes on to explain that "Cleopatra resembles Venus in a painting of Botticelli or Titian, the object of desire and the center of an erotic tableau" (Starks pp).

Of all his female characters, Shakespeare's Cleopatra is certainly at the top of the list in qualities of intelligence,… READ MORE

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