Park 1 18 December 2013 Thy King, Thy Lord, Thy Soveriegn In the play, Taming of the Shrew by Shakespeare, a prominent character by the name of Katherine is a shrew in the beginning but after her marriage with Petruchio and his determination to tame his wife, in the very end she delivers a speech condemning Bianca and the Widow for not fulfilling their duties as wives. Shakespeare’s diction, imagery, and organization convey a condescending manner as Katherine addresses the wives and an adoration manner when addressing her husband as she openly states that she is willing to submit herself to her husband. In her speech, Kate uses a condescending tone when talking to the wives because they did not come when their husbands asked. In the beginning when Kate drags the wives to their husbands she tells them to “dart not scornful glances from those eyes” and to “unkit that threat’ning unkind brow.” By ordering the wives around, Katherine shows that she is in a higher position than them and therefore has the right to look down on them for their actions. She calls the women “foul contending rebel[s]” and “graceless traitors” to their husbands.
When Proctor had to go to the court to get his wife out of being accused of upholding witchcraft he eventually confess to his sins he committed. Talking to Danforth, Proctors says “I lusted, and there is a promise in such sweet. But it is a whore’s vengeance, and you must see it; I set myself entirely in your hands” (page 49 act three) confessing to the crime he did. He realizes what he did was wrong which was why he tried to hide it for so long. But the only way for
When they laugh at her warnings and she gets upset, Minerva says, "Come on, Dede. Think how sorry you'd be if something should happen to us and you didn't say goodbye." But before they leave, she cries out her real fear: "I don't want to have to live without you." The reader knows that is her fate exactly: to live after her sisters die as martyrs, and thus to tell their story. Another instance of foreshadowing occurs after Tio Pepe reports what Trujillo said at the gathering at the mayor's house.
Richard III laughs as he ruses Lady Anne into believing that he killed her husband and father because of her beauty. “Was ever woman in this humor wooed?” Richard when he’s alone, he mocks her because she fell for his hoax. Richard was actually a very smart man and very deceiving at the same time. The beginning of act 1 starts with this heartfelt speech of Richard speaking of how he feels about his brothers and how he will reach the top. Richard is bitter, deformed, not loved, and sickened by peace, so he will set his brothers up for their death and rise up.
Prospero’s daughter, Miranda, even “pitied thee” (Act 1.2 lines 353) and thought Caliban English. Prospero bluntly states his change of heart, “[I] lodged thee in mine own cell till thou didst seek to violate the honor of my child” (Act 1.2 line 346-348). When Caliban is to rebut Prosperos claim he only makes a fool of himself in the process; “Thou didst prevent me” (Act 1.2 lines 350). Caliban simply blames Prospero for his attempt
We have already seen Hamlet express his thoughts about his mother and her marrying “My father’s brother, but no more like my father Than I to Hercules.” (1.2.154-55). His anger towards women is obvious and clear to us, and he even goes so far as to use the analogy “Must, like a whore, unpack my heart with words” (2.2.597). I will argue that even in the context of Elizabethan England when women were seen as little more than property, Hamlet ascends such simple sexism expressed in those times to sculpt himself to the most misogynistic character in the entire play, from the loathing of his mother to his condescension of Ophelia. Hamlet’s misogyny may very well begin with his thoughts about his own mother. Early in the play we first see Hamlet as a young prince who has just lost his father.
She is completely unable to control her feelings for her only love, “I must love a loathed enemy” [I, v, 139]. The way that Shakespeare uses “must” is very interesting because although the households are enemies she must go against her parents will because she loves Romeo. No longer did her parents support her instead she was rejected. When Juliet rebels against marring Paris, “He shall not make me a joyful bride” [III,v,117]. Lord Capulet becomes enraged of this defiant behaviour, “An you be mine, I’ll give you to my friend / an you be not, hang, beg, starve, die in the streets, / For, by my soul, I’ll ne’er acknowledge thee” [III, v, 192-4].
Hamlet Analysis “Such an act that blurs the grace and blush of modesty, calls virtue hypocrite, takes off the rose from the fair forehead of an innocent love and sets a blister there, makes marriage vows as false as dicers’ oaths—O, such a deed…”. (III, iv, 47-52) In the argument between Hamlet and his mother, Hamlet was in the process of exposing her for who she is. He soon sees the Ghost of his father, and Gertrude believes he has descended into madness. The closet scene in which Polonius is brutally murdered is, due to the turn of events that happen following it, is the climax of the story. It serves as the overall catalyst for the exile of Hamlet, the fencing match between him and Laertes, and the sudden string of deaths.
Through a modern perception on the playwright’s female characters, women can be seen as worthless, sexually corrupt indiviudals. Ophelia, often through the words of the men around her, can be partiicuarly perceived in this way. This is evident, with her father, Polonius when he says to Claudius, “At such a time, I loose my daughter to him; Be you and I behind an arras then; Mark the encounter…” (2.2.176-178) Polonius’ language here suggests that Ophelia is more of an animal than his daughter, and he as her father shows her little respect. This reading of Ophelia is also apparent through Hamlet’s language, describing her in unpleasant context or as a “dead dog”(2.2.81). He treats her with little regard and believes that she is a “breeder of maggot” This is also evident when Hamlet says to her, “ I say we will have no more marriages.
She then exits the palace and comes on stage. Rather than being a mess, like what is expected of her at the moment, she appears calm and collected, not like the person who was just crying and screaming inside the palace not so long ago. She talks about Jason’s wrongdoings to her. Creon the king of Corinth then goes to see Medea, informing her that he is exiling her out of his city, as he feels threatened by her as she keeps making death threats, to him, his daughter and Jason. He wants to protect his daughter as much as he can and feels that Medea is a big threat to her safety.