Characters in Shakespeare 's play Romeo and Juliet are coerced to obtain certain roles depending on social class, gender, and age solely because of the severances caused between the Montagues and the Capulets families. One’s identity in Verona is defined by belonging to either one of the two quarrelling families, the Montagues or the Capulets; this leads to discrepancies between Romeo and Juliet’s relationship. Love powers the two forbidden lovers to go against their identities, and through much struggle and many hardships, Romeo and Juliet finally create their own identities, only to be rewarded with their own deaths. Although the two families play a major role of the identity of an individual in Verona, there are several other factors as well.
Shakespeare focuses primarily on the relationship between Lear, and the aged king and his daughters. Lear’s wish is to split his kingdom between his three daughters – after being assured of how much they love him. Shakespeare wanted to show the struggle between goodness and evil, inside of human and how evil changed man to behave bestially. Shakespeare’s King Lear, at the end, fulfil revenge, indeed, Lear divided his realm between two daughters instead three daughters because he followed flattery his two daughters. In order to get a portion of the kingdom, Goneril and Regan must profess their love to
In Twelfth Night, Viola and Olivia are the central characters to the play’s plot. Each are young women that take approaches to dealing with the people around them, which are mainly men. There is much trickery that goes on in Twelfth Night, but the ending is for the most part happy. Viola marries Orsino and Olivia marries Sebastian, but the events leading up to this are more or less chaotic. Ultimately, I argue that while Olivia uses her higher social status in order to maintain control of herself and others, Viola resorts to trickery in order to bring about her desires.
In conclusion, “A streetcar named Desire” by Tennessee Williams, uses characterization of the main characters to convey theme of the desire and how it can influence and change someone’s personality. Because of the situations and arguments the characters get in, Williams is able show how desperate the characters are to get what they want. Stanley was willing to put his wife and his baby’s lives at risk, only to prove that he was the man of the house. Blanche ruined her chance of getting married because her promiscuous past caught up with her. Tennessee Williams uses his upbringing to show the theme of male versus female in many of his plays and it especially shows in “A streetcar named Desire”.
Introduction Throughout his career, William Shakespeare has presented a range of strong-willed and active female characters. His comedies, in particular, contain many women who not only have agency but are able to use this to gain sexual and political freedom. In order to investigate the extent and role of female agency in Shakespeare’s comedies, three plays from various points in his career will be analysed: The Taming of the Shrew (c. 1592), A Midsummer Night’s Dream (c.1594-6), and All’s Well That Ends Well (c.1602-7). First, though, what is meant by both political and sexual agency must be defined.
Within the first couple of lines a Capulet named Sampson says, “I will push / Montague’s men from the wall, and thrust his maids to the / wall” (1.5.15-17). This exemplifies the significance of the feud and how it relates to the lovers. The irrationality of the situation causes the observers to be so compelled and fascinated to cogitate the possible consequences of Romeo and Juliet’s predicament. In the following act, Romeo begins to concede his love for Juliet in the infamous balcony scene. Until this particular moment, Romeo is equivocal of her love for Rosaline and immediately admires Juliet from the moment they first meet.
Marion D. Perret, in “Petruchio: The Model Wife,” states, “The relationship and duties of husband and wife are copiously discussed in Elizabethan sermons and books on domestic conduct. The playwright need not have one of these works beside him as he wrote: the standards set forth in them were widely enough known that he could assume, for instance, that playgoers would understand why Desdemona should come and go at her husband’s command even after he has unjustly struck her- the onstage audience shows shock at Othello’s action, but no surprise at Desdemona’s obedience (pg. 223-224).” According to this textual evidence, using characters from another Shakespeare play, Othello inequitably strikes Desdemona, in which Desdemona reacts by obeying her husband. The example of Othello and Desdemona can show that females’ blind cooperation toward their husband or other male authority is customary for the Elizabethan era.
While Desdemona is a remarkably strong character, Emilia also displays independence unmatched by any other female in Othello, and there are multiple details of Shakespeare and his time that may have prompted such a portrayal. In Elizabethan England, many women worked behind the scenes of productions, like Shakespeare’s, as uncredited authors and editors (Crowley). Due to their anonymity, nobody can be sure that women were involved in Shakespeare’s plays nor Othello in particular, but there is a genuine possibility that female writers did have leverage. This may have had to do with how Emilia was portrayed as resilient from the time of Desdemona’s death all the way until her own, standing up for herself regardless of the ridicule it caused her (Iyasere). In fact, it even killed her in the end.
As Lee Jamieson says, “the high-born women represented “possessions” to be passed between fathers and husbands.” Women in wealthy families had restrictions on what they could do and where they could go. They were often accompanied by a chaperone. In Shakespeare’s play, Romeo and Juliet, the rich Capulet family has a daughter, Juliet, who the nurse cares for. In this case, the nurse guides Juliet through life as a chaperone and acts as a motherly figure to Juliet.
The social expectations, rights, class, and value could not be more different when it came to man versus woman. Throughout the Renaissance period these roles of each gender can often be identified in literary work however at times the characters tend to sway between each role. This sway in the role can be seen in Shakespeare 's As You Like It.
Obviously it does not work out. Firstly the script is being changed by the aging diva Helen Sinclair, who wants her role to have more influence, character and screentime and slowly manipulates Shane by seduction. Eventually the script is majorly changed by the Olive 's bodyguard, Cheech, who claims that the play is rubbish. He turns out to be quite apt at playwriting and the final script is something else than what it started. There is no final director, because the script underwent so many changes that the original notes almost do not exist, and the major changes that Cheech introduced become almost a new script.
Over the years there have been many movies that have come out were characters either fall in their gender roles or they step out of their gender roles. When movies first came out, filmmakers usually made movies where characters within the movie had typical or traditional gender roles. The reason that they did that was because they wanted to present viewers with characters they can easily recognisable and relatable to, by portraying a conventional image of a person or group of people with identifiable characteristics. There are many examples of this.