From the ancient version, the evidence can be obviously seen that Helen is always be blamed by the others. For example, she is blamed by Odysseus as “a faithless woman.” He thinks Helen is willing to go with Paris causing “a Romantic adventure.” Moreover, she is blamed by the noble men of troy, they say, “Man must fight for such as she.” Also, Helen is regards as all that agony and death as they say to each other, “For her face was like to that of an immortal spirit.” The noble men of Troy are insulting her even she is staying by them. We can see that Helen is blamed unfairly just
In Euripides’ Medea, readers see Medea, the allegedly monstrous wife of Jason, hero of the Greek people. Many critics have since held up Euripides’ play as further proof of Medea’s monstrosity in her infanticide, labeling her a “Monstrous Mother”. However, throughout Medea’s interactions with other characters, her mistreatment by her husband Jason, and her interactions with her children, the reader sees Medea in a new light: she is no longer monstrous. In fact the ideas of mythic and monstrous mothers no longer apply to Medea; she falls between both realms. Euripides can arguably be a proto-feminist, as he intends Medea to be seen as a barbarian troubled by Greek culture, due to her outsider nature, she cannot survive in not only this Greek environment, but an environment ran by men.
This forebodes the death of Macbeth and also Lady Macbeth by suggesting that they will not be able to kill the King and live a normal, guilt free life afterwards. Lady Macbeth then creates irony as she mocks Macbeth for thinking this way, she refers to him as a ‘coward’ and insists that this murder is necessary. This part of the play is extremely significant as we realise just how harsh Lady Macbeth is and how far she would really go. She removes any maternal characteristics that she may have had by explaining that her lack of pity would extend so far, that she would murder a baby. “Have plucked my nipple from his boneless gums and dashed the brains out”.
“… How I wish I might see him and his bride in utter ruin, house and all, for the wrongs they dare inflict on me who never did them harm!” (55) Medea resolves to avenge her self and make her husband Jason suffer more then she has in order to punish him. While Medea speaks to the Chorus of the role of women in their society and their great disadvantages she is seen as a heroine willing to avenge the wrongs done to women, which is a rarity during the given time period “Of all creatures that have life and reason we women are the most miserable of specimens! In the first place, at great expense we must buy a husband, taking a master to play the tyrant with our bodies…” (56) Medea is undoubtedly a feminist which emphasizes her strong and independent character. Her tendency to violence and ruthlessness however is evident at the start of the play when the nurse is prompted to predict that Medea may do harm to Jason’s new bride out of jealousy and harm her children because they remind her of Jason “I’ve already seen her glaring at them like a bull, as if she wanted to do something awful. I’m sure of one thing, that anger of hers won’t die down until someone’s felt the force of her thunderbolt.
Carol Ann Duffy describes Medusa as a bitter woman, who has been betrayed by the man she loved. The poet creates the reader’s reaction to medusa’s character through a direst address to the reader. Rhetorical questions like ‘Are you terrified?’ and ‘Wasn’t I beautiful?’ bring the reader unto immediate contact with Medusa. Furthermore commands like ‘Be terrified’ and ‘Look at me now’ are used to build fear and allow the reader o experience her rage. This is just one method used to create the reader’s reaction to Medusa.
The second theme is that of a wicked temptress, a shrewd and cunning stateswoman who uses her womanly assets to manipulate and enchant her opponents. Cleopatra was despised by Roman writers because she was the complete opposite and an affront to the Roman way of life. Plutarch’s account of Anthony’s bewitchment by Cleopatra, where he illustrates Cleopatra manipulating Anthony by ignoring his letters, she arrived when and how she wanted to. I believe that this was the beginning of the end
Manding Bory. Once again, we are instructed to see women as inhumane, one-dimensional, base creatures of the fairer sex. She is portrayed as a tyrannical leader after the death of her husband, King Nare Maghan, as she disobeys his wishes and acts as imperious force against his other wives and their offspring, including the prolific Sundiata, the supposedly deserving heir to his throne. It is important to note that this emphasis on her cruelty ties hand in hand into another archaic and paternalistic ideal that women are neither capable nor suitable of being nonpartisan rulers, and are bound to the emotional feminine binary, rather than the dichotic male rationale. Yet, it can be noted throughout the text that although her actions were supposedly of a dishonourable and sinister nature, but they may also be construed as an attempt to protect both her own and her son’s future prospects.
In 'The Handmaid's Tale', Atwood creates a very bleak future for the human race, portraying a world destroyed by corrupted morals in which women have had all of their rights removed. One of the fundamental ways that Atwood constructs the dystopia is by showing the manipulability of human nature. The women of Gilead have been stripped of their freedom, yet have simply grown to accept it. The way that Offred refers to her bedroom as "mine" shows how despite her attempts to rebel against the system, society stands no chance against the Gilead republic. The citizens' morals are becoming more re-shaped all the time, painting a very bleak future for the next generation as before long there will nobody to fight against the government oppression.
Macbeth hatches the plan, as he is in conversation with Lady Macbeth, he states, “When we have marked with blood those sleepy two”. Sleepy contains connotations of vulnerability and no use of self-defence, therefore meaning that the guards are helpless moreover Macbeth planning to frame them whilst at this vulnerable stage, infers the tyranny within. Aristotle’s theory on a Tragic Hero states that persuasion soon follows the self-indulgent of greatness. In this instance, his own wife, Lady Macbeth, convinces Macbeth to kill his best friend, Duncan. She insults his masculinity greatly, by calling him a coward.
Nora Helmer is the very epitome of a reprobate in Henrik Ibsen's A Doll's House. Nora is unique in that her one outstanding métier is also her most destructive shortcoming. This quality is lying, something Nora is more than adept at (though she seems to have a knack for irony as well.) The first word Nora speaks is "hide," which sums up her character absolutely perfectly; she lies to everyone about everything. She lies to her husband, she lies to her best friend, and she lies to herself.