One of the characters dragged into the disarray is Ophelia, the daughter of the King’s advisor and Hamlet’s love interest. Ophelia is pulled in many different directions, and is used at the whims of the men in her life. She suffers greatly throughout the tragedy by none of her own faults. She is dragged into this conflict, yet she stays. Ophelia is a dutiful daughter, representing the "fairer sex" perfectly.
He teases and scolds her for being a spendthrift while she placates and humours him; massaging his male ego and playing the role of coquettish young girl. It becomes increasingly obvious that nora caanot be honest or sincere in conversation with Torvald- he refues to see her as an intelligent, independant woman and she remains frustrated and inhibited. Helmer objectifies Nora: she is there to complement and enhance him and his standing in the community. He tries to mould her into the perfect wife-submissive, unthinking and obedient. He chastises her for eating sweet treats, for leaving him on his own while she worked and for dancing too wildly during her rehearsal of the tarantella.
While Medea is set in a male-dominated society, there are still several inconstancies and gaps, which enrich the play and make it unconventional and uncomfortable for conservative audiences. The most obvious example is the fact that Medea kills her own children, a deeply unfeminine and unmotherly act, a complete rebellion on the society. A more subtle form of non-conformity is exemplified by Medea’s inconsistency when obliging to her husband and her king. Euripides’ use of contradiction and non-conformity within the play reveal that it is a story of empowerment to women. He subtly and obviously tells this story throughout the play, specifically using Medea’s actions and her relationships with other characters as platforms to get his message across.
The continual questioning reflects that of a grueling and in part contributes to Ophelia’s later madness. Kenneth Brannagh has said that his interpretation of “Hamlet” suggests that Hamlet is aware of either Polonius and Claudius and Hamlet’s continual repetition of “Get thee to a nunnery” emphasizes his beliefs in all women being morally corrupt. Possibly, Hamlet betrays Ophelia because he ultimately loves her. He is aware of men being “arrant knaves” and as such may be
Swift and Pope differ greatly in their views on women. Looking at Swifts Christian beliefs, his writings reflected his adversity to pride and vanity. He felt these were special flaws of women. It could be argued that Swift hated women, yet he often collaborated with women. One the other hand, Pope had a genuine understanding of women; he seemingly could put himself “in their shoes”.
This compelling narrative warns of egocentric tendencies that unleashes uncontrollable desires, which sows the seeds for bloodshed and widespread devastation by detailing the downfall of the once regal Macbeth, and through this, aims to deter people from following the same accursed path he has walked
According to an article by Wilderdom , a person becomes rather uncaring of others when one has Id which is too strong. In Act 5, Scene, 1 Lady Macbeth is an exemplary model of superego. Wilderdom also states that one with excess superego feels guilty at all times; an accurate description of Lady Macbeth. She begins to feel guilty as she is introduced to the laws, morals, and ideals of society. She must live up to them, especially now that she is Queen and many people look up to her.
Penelope’s power does not only derive from her position in her household, it also derives from her character. Her worth is measured by her action and choices and what others thinks of her. She is praised by men and placed on a level of status only equaled to men. The obvious role she played was to help her husband and his return, but the more complex one is her impact on the society and its rules that Homer depicted. Penelope was in the epic a woman who was wielding power in a misogynistic society, and she had to bend and break rules to gain and justify the authority she had over
As we note, there appears to be a clear progression of feeling Catullus experiences towards Lesbia - initially he is enamored by her and their apparent love for each other. With time, Lesbia's betrayal leads Catullus to become bitter towards his former lover, which then manifests itself into slander, mockery and invective to demoralize her image. As we touched on earlier, women in Roman society during this era, possess no public persona except for those that are assigned by rumores. Due to this social construct, any negative account circulated among the public about Lesbia lends to her role and image within society; Catullus takes full advantage of this ideology and openly disgraces Lesbia for her betrayal. Lastly, Carmen 11, solidifies this distaste Catullus has developed for Lesbia.
Antigone, one of the first female protagonists in literature, is considered a tragic heroine whose downfall is due to the tragic flaw of her devotion to her family and her obsession with burying her brother Polyneices. Unlike the traditional Ancient Greek woman, Antigone is outspoken and defiant; these characteristics are both admired and abhorred by other characters in the play. For example, while Haimon praises her ability to stand as a voice for the masses against Kreon’s absolute rule, Kreon sees her justice-driven actions as a resistance against his rule. Antigone’s characterization is emphasized by her foil, Ismene, whose quiet and obedient persona only emphasizes Antigone’s dissimilarity to the average woman. However, Antigone’s obsession with burying Polyneices stems from her desire to obey divine rule, an aspect that was considered imperative in Ancient Greek society.
Mariam and Laila are forced, by punishment up to execution, to remain loyal and patient to their husband and while in public. Even while the alternative is cruel, “Mariam chewed. Something in the back of her mouth cracked”, Rasheed demonstrates his lack of compassion by leaving her to“spit out pebbles, blood, and the fragments of two broken molars”. (p. 104) Enduring injustices like this are nothing short of common for women in developing countries. Men control women through manipulation and fear, powerful, ugly tools that spawn from greed and selfishness.