Perhaps, Ophelia’s most prominent trait is her propensity to be totally utterly manipulated by other characters in the play. Most obviously by her father, Polonius, as he treats her on equal rank with his own finances "Think yourself a baby/ That you have ta'en these tenders for true pay/ Which are not sterling. Tender yourself more dearly...or you'll tender me a fool" (Shakespeare, 1.3. 105-107). Ophelia exists at his beck and call, even ending her relationship with hamlet at his whim.
“(1.3.47-49) These three lines are extremely crucial to the play because it gives Macbeth his beginning thoughts toward receiving the throne. Shakespeare made the witches deceive Macbeth and Banquo who begin to believe they are invincible and have much to look forward to. This proves misogyny in Shakespeare because it ultimately put the witches to blame for all the horrible events in the play. Shakespeare also portrays his misogyny through Macbeth as he belittles the witches by saying, “How now, you secret, black and midnight hags.” (4.1.47) In Shakespeare’s era, chivalry and respect toward women was big. By having a character in his play say this to three so called women, seems
Annabella’s claim to be a part of ‘a wretched, woeful woman’s tragedy’ offers no solace to the other women in the play as she bought her punishment on herself. To what extent does the play as a whole appear to criticise or endorse the misogynistic attitudes shown by so many of the characters? T’is Pity she’s a Whore is undoubtedly a play that can be characterised by the sexism present in it, particularly in terms of the negativity associated with female sexuality. Ford presents misogyny through women and love, women and sex and the male advancement, but what is unclear is whether or not he endorses such an attitude or criticises it. This is best encapsulated in the debate as to whether Annabella can claim to be part of a “wretched, woeful woman’s tragedy” if her mistreatment was indeed her own fault.
In Shakespeare’s Hamlet, what “seems” isn’t always the same as being. The theme of Appearance vs. Reality is set when the ignorant Gertrude questions Hamlet, “Why seems it so particular with thee?” (I.II.78.) And Hamlet’s response is, “’Seems,’ madam? Nay, it is.
We know this because in Act 1 Scene 2, Hamlet says “Heaven and earth! Must I remember? Why, she would hang on him, as if increase of appetite had grown by what it fed on; and yet, within a month, let me not think on’t: Frailty, thy name is woman”. This means that Hamlet remembers how in love his Mother was with his father and he is confused as to why she has re-married so quickly. He comes to the conclusion that women are imperfect.
Hamlet’s feminine issues highly motivate the majority of his actions. Hamlet’s feminine issues only slightly motivate his actions in acts one. He starts off his place in act one scene two by telling the king that he is “a little more than kin and a little less than kind.” Hamlet is referring to the fact that his uncle has just married his mother only two months after his father passes away. However, this small encounter is not enough to truly judge Hamlet and his feelings towards women. Later in the scene, he has a soliloquy in which he says, “frailty, thy name is woman!” Hamlet views his mother’s frailty, or faults due to weakness especially of a moral character, as something that all women have.
When Hamlet pours his heart out for his late father, the new King Claudius deems him to be unmanly. To be unmanly is to be womanly, and Claudius considers his new stepson/nephew to be such. “ ‘Tis sweet and commendable in your nature, Hamlet, To give these mourning duties to your father, […] But to persever in obstinate condolement is a course of impious stubbornness. ‘Tis unmanly grief (I.ii.87-94).” Later on, in act 2, Hamlet curses himself for being womanly. “Why, what an ass am I!
Whom I now keep in service” (Act 1.2 lines 283-286). If first impressions are everlasting, then our first impression of Caliban is Shakespeare’s way to impose a feeling of disdain on his audience toward Caliban. Caliban is also the son of a witch called Sycorax. During Shakespeare’s era, bloodline is a big determination of social status which would further coax his audience into believing that Calibans slavery is within social boundaries. “Thou poisonous slave, got by the devil himself,” (Act 1.2 line 319) this line is a direct stab at Caliban and his witch of a mother.
Beatrice also insists that ‘Adam’s sons are my brethren ‘, that she would be committing incest by marrying all men. Beatrice does not really believe that she is a blood-sister to all men; this is just another way for her to ridicule the concept of marriage. In Act 2 Scene 1 of MAAN,
Hamlet in his first soliloquy demonstrates his disgust that his mother has allied herself in love and in politics with her late husband’s brother, so soon after his death, “frailty, thy name is woman... to post with such dexterity to incestuous sheets”. Claudius is clearly established as the villain in Hamlet, murdering his own brother and then plotting to kill Hamlet. He lies and is deceitful toying with the notion that the appearance of things is not their reality. The audience is privy to the ‘reality’ of Claudius ‘deed’, and of his guilt, through an aside, climactically stating, “then is my deed to my most painted word. O heavy burden!”.