How to Write a Summary of an Article? He has done this by making him think that Desdemona is cheating on him with Cassio. Firstly, the use of metaphors are essentially to provide the atmosphere of the scene. Then, Shakespeare uses dramatic irony to foreshadow what Iago is going to do.
English Literature Books Shakespeare, it is claimed by many modern critics, was a feminist. Shapiro for example goes so far as to claim that Shakespeare was 'the noblest feminist of them all'. Although I am inclined to agree with McLuskie that as Shakespeare 'wrote for a male entertainment', it is historically incorrect to regard him as a feminist.
I believe that Shakespeare because of his extraordinary genius for portraying human behaviour, necessarily depicted the condition of women within a patriarchal system and created women characters which in their richness, transcend the limitations of his time.
In this essay I will explore chiefly Shakespeare's treatment of the three Turning point in othello Ophelia, Desdemona and Cleopatra, of the tragedies Hamlet, Othello and Antony and Cleopatra, beginning with an exploration of Shakespeare's representation of the effects of a patriarchal system upon the characters.
Ophelia, it would seem, wholly at the mercy of the male figures within her life, is certainly a victim figure. Although it has been claimed by critics that Hamlet is unique amongst Shakespeare's tragic heroes for not being to blame for the tragedy of the play, if we are to consider the death of the heroine as part of this tragedy then surely we must question Hamlet's innocence.
In his treatment of Ophelia, Hamlet oscillates between protests of undying love and cruelty such as his cold and accusing speech in the 'nunnery scene'.
In short, Hamlet throughout the play uses Ophelia as a tool in his revenge plan. To examine this culpability more deeply however, it could be suggested that it is Queen Gertrude's behaviour that has instigated Hamlet's unforgivable treatment of Ophelia: She transgresses the patriarchal bounds of femininity by marrying so soon after her husband's death and not remaining in passive grief and obedient devotion to his memory.
This provides Hamlet with a model of women's inconstancy. His bitterness leads him to believe that all women are untrustworthy - 'Frailty thy name is woman' and as R. White puts it, Hamlet projects upon Ophelia the 'guilt and pollution' he believes exist in Gertrude's behaviour. However we view his culpability, Ophelia suffers as a result of Hamlet's patriarchal values of womanhood.
With regard to her father and brother, the two direct ruling male forces in her life, Ophelia is also very much a victim. Unquestioningly obeying their remonstrances against pursuing a relationship with Hamlet, she rejects his advances - which of course she believes to be genuine - and thus when he pretends to be mad she believes it to be her fault.
Her speech reflects her deep and genuine sorrow: And I of ladies, most deject and wretched That sucked honey of his music vows O woe is me. Ophelia's feeling of guilt is reinforced by Polonius's insistence to King Claudius: But Yet I do believe The origin and commencement of this grief Sprung from neglected love Polonius's conviction, in which one can't help believing, stems from a mercenary desire to marry his daughter off to such an eligible husband as the prince of Denmark, rather than a genuine belief in his daughter's role in causing Hamlet's madness.
Thus when Hamlet murders her father, Ophelia enters a double realm of guilt, believing herself to be to blame for both Hamlet's madness and her father's death.
As a result she becomes mad.
Although at one level this decline into madness sets Ophelia up indisputably as a victim figure, on a deeper level perhaps her madness itself can be seen as Ophelia's active rejection of patriarchal restraint. Charney Maurice suggests that since within Renaissance drama madwomen were 'more strongly defined than madmen', and women's madness was 'interpreted as something specifically feminine', through depictions of madness dramatists were able to give women a chance to express their selfhood - 'make a forceful assertion of their being' - in a way which patriarchal conventions would otherwise have prevented.
In the later tragedy, Othello, it can also be argued that the tragedy occurs from adherence to patriarchal rules and stereotypes. Gayle Greene summarises this position in her claim that the tragedy of Othello stems from 'men's misunderstandings of women and women's inability to protect themselves from society's conception of them'.
Certainly Desdemona's very much feminised qualities of passivity, softness and obedience are no match for Othello's masculine qualities of dominance, aggression and authority.
After Othello in his jealousy has struck Desdemona and spoken harshly to her, she tells Iago, 'I am a child to chiding'.In considering the development of the USA in the years , how far can Nevertheless in some aspects the Civil War can bee seen as a turning point for African Americans as it helped to encourage the American government to place a change for African American in legal terms 'de jure'.
Turning of the Tassel. The use of a tassel adorning a graduation cap only started in the last 40 to 50 years. The tassel was originally designed to decorate the graduates cap during the ceremony but it has come to have symbolism as well.
Blog - SparkLife» Auntie SparkNotes to overstate how much attitudes have evolved on this front even within the past five years, and we haven't even reached the tipping point yet where people who came of age amid the first-wave sexting panic.
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Perhaps the crucial turning point in William Shakespeare’s play Othello occurs in Act 4, scene 1, when Othello resolves that he will kill both Cassio and Desdemona.
Thus, in , he asks. Shakespeare's women. Shakespeare's treatment of female characters in the tragedies Hamlet, Othello and Antony and Cleopatra, a study.