In the play Twelfth Night, through the depiction of Orsino’s and Viola’s desires for romantic love, Shakespeare portrays how adjustable and self-delusional human romantic attraction can be, especially when blinded by wants and needs. Viola, who puts on the appearance of a man, makes everybody think she is a male. Her disguise becomes a sexual confusion throughout the play for several characters, creating an odd love triangle where Viola loves Duke Orsino, who loves Oliva, which then on the other hand loves Viola, in disguise as Cesario. On the other hand, Malvolio dreams of marrying his beloved Olivia, and gaining authority over his superiors, like Sir Toby. Shakespeare uses disguise in the play to show several confusions and internal conflicts between the characters, proving how malleable and deluded some human attractions can be.
The “actions and spirit” which Olivia refers to are Viola’s ability to converse with Olivia woman-to-woman, unbeknownst to the countess. Twelfth Night seems to present gender as a mask to be worn and taken off at will, a fluid concept that changes to suit one’s needs and emotions. By playing Cesario, Viola partly becomes this version of herself, so Olivia, by loving Cesario, has feelings for Viola by extension. When Sebastian makes his reveal, Olivia marries him for two reasons. The first is an external piece of reasoning, being that in Elizabethan comedies such as this, heterosexual pairings must happen for the play to follow the fairly strict expectations of a comedy.
In doing this, Polonius forces Ophelia to choose between her father and Hamlet. The men in the play are not faced with these decisions, because in this time period women were expected to do what they were told. (Rampton) It is not Hamlet that is criticized for having relations with Ophelia, but Ophelia who is criticized for having relations with Hamlet. In fact, Hamlet is never criticized for being with Ophelia because in the current age there is no reason for Hamlet to be criticized. Due to Ophelia’s obedient nature and despite her love for Hamlet, Ophelia chooses to betray Hamlet by allowing Polonius to spy on them.
Concluding Statement In conclusion, the force of attraction and love is something unique and hard to replicate. The fact that Helena’s blind love for Demetrius is something only fairy magic can replicate, as in the case of Titania and Bottom, is a testament to how strong their love is. Paragraph 2 (reason and love keep little company together nowadays/the foolishness of love) Topic Sentence Unconditional love is a prevalent theme in A Midsummer Night 's Dream, and the blind nature of this love can be a great thing, especially since ignoring a romantic partner’s flaws can lead to a happier relationship. However, in A Midsummer Night 's Dream, Shakespeare takes his characters’ love to an irrational extent - so much so, that a prevalent theme of the play is the foolishness and folly of love. Context After being enchanted by Oberon’s love potion, Titania is awoken by Bottom, who she then falls madly in love with.
Firstly, Juliet’s soliloquy about Romeo and the obstacles in their relationship clearly demonstrates her love for him. This intense and romantically centered soliloquy that Juliet exclaims on her balcony shows a mixture of feelings including worrisome indecision, as well as passionate love. Romeo is the principal subject, and this shows us that Juliet most probably already harbors deep feelings for him. The second time she speaks, Juliet says “Oh Romeo, Romeo! Wherefore art thou Romeo?” Here one can also see the use of a rhetorical question.
Traditionally, the men would be generalized as caring mostly about the physical components of a relationship and women generalized as caring mostly about the emotional component. However, in this story the roles are switched. The friar cares about the spiritual aspect and the nurse cares about the physical aspect. Shakespeare is suggesting that gender roles that were previously consistent are now changing or obsolete. Juliet serves as a symbol for all young women and the movement of female individualism and breaking away from the norms of traditional society.
“The descriptions provided by Anderson are often quite intentional. It seems almost silly to even question whether his character descriptions would be intentional, however, it is important to note that the details he gives are given for a reason, often symbolic,” ( GradeSaver). This can be seen in the next story, “Paper Pills”. The character, Doctor Reefy, is a person who writes down his thoughts, and then he rolls it up into a ball to throw out later. The quiet, tall, dark, girl is Sherwood Anderson’s symbol of sensuality because she dreams of the sexual acts spoken to her by one suitor, and becomes pregnant by the other suitor.
Sammy feels sexual attraction towards these girls, their physical attributes mesmerize him. At first, Sammy seems to come off as a sexist teen, but later he tries to prove that he is different. Sammy’s boss, Lengel, confronts the girls and calls them out for their attire. Lengel states, “We want you decently dresses when you come in here”. Which the girls respond, “We are decent”.
Gender was not assigned at birth as your sex is, it is a learned idea, influenced by generations and traditional ideas, and enforced by the media and cultural stigma. If gender is performance, then it is subject to change at will. Nancy, in that sense, is pushed into becoming a male impersonator on stage because of her love for Kitty. It is not something that she consciously pursue, but rather as she delves into the character of Nan King, the sustained use of male signifiers, such as attire and haircut, along with male mannerisms creates the character. Judith Butler refers to these repetitions as ‘sustained social performances’ which create the reality of
Girls Will Be Boys and Boys Will Be Girls: Gender Confusion and Compulsory Heterosexuality in Geoffrey Chaucer’s The Miller’s Tale On the surface, Geoffrey Chaucer’s The Miller’s Tale is a traditional fabliau, a bawdy tale of trickery, mistaken identity, and plenty of sex, designed to titillate and amuse the reader. The characters are typical of the trope: the effeminate buffoon, the lecherous lodger, the foolish husband, and his lusty wife. However, a closer reading, and application of the principles of queer theory, reveal The Miller’s Tale to have a deeper purpose than mere amusement. The main characters all behave in ways that are at odds with their stated desires and motivations, as well as their genders and professed sexual identities. These contradictions leave the careful reader conflicted and unable to adequately explain the author’s purpose.
The sequence is also framed like the first exchange between a slightly prudish, upstanding young woman and an overly aggressive courter, made comedic only by the fact that we know that Daphne is not a woman. Throughout the scene, we see close ups of Daphne’s ankle as it is fondled by Osgood, unwanted sexual advances in the elevator, and consistently suggestive dialogue with a sexual undercurrent. Not only is Wilder flipping the gender script, he is also playing as comedy something that perhaps would not have gotten past the censors otherwise. While this kind of crossdressing comedy certainly reinforces rather than challenges the gender binary, what is significant about the way Daphne is treated in this sequence—and the way Daphne and Josephine are presented on their first reveal as women—is the singular kind of self-awareness Wilder exhibits. He is playing by the book in terms of dialogue and even editing, but there is a knowingness to it, a sly nudge-and-wink to the audience—that because this is a Marilyn Monroe film, and because of the kind of fame that is attached to her and to Tony Curtis, this is what you expect and not what you expect.