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.
Prospero using a tempest to shipwreck is previous offenders and plotting to sabotage them, and Medea plotting to kill Jason’s new female interest and her kids to avenge her husband’s mistreatment, are both using unjust acts to retaliate their offenders. Their actions, though enacted through anger, are a clear violation of basic moral reasoning, and are a driving theme between both works. In Shakespeare’s The Tempest and Euripides’ Medea the dearth of morality manifested in both main characters, is a prevalent theme similarly expressed through the author’s use of a sympathetic figure and the characters illusion of justice they strive for, yet is differentiated greatly by Medea and Prospero’s concluding acts upon their schemes for vengeance. Medea’s foremost introduction is the details of her husband, Jason’s, betrayal, “but now their love is all turned to hate …For Jason hath betrayed his own children and my mistress dear for the love of a royal bride” (17). A moral breach in marriage is the perfect beginning to a sympathetic figure, as Medea, “lies fasting, yielding her body to her grief, wasting away in tears” (17), Euripides keenly draws upon her devastation and grief towards
After tapping into his feminist side, he goes on to boldly challenge not “the law” as a whole, but the individuality/exceptions that should spring forth when needed. Using his character Polly Baker, who after being drawn into court for birthing another bastard child, reasons with the Judges saying, “ but since laws are sometimes unreasonable in themselves….I take the Liberty to say that I think this law to be unreasonable within itself”. And after setting the premise on individuality, Franklin drops a satirical bombshell by Polly Baker’s claim that “those very people you all know he is now become a magistrate of this
In (IV.2.195) we discover that Emilia responds to Iago's commands repulsively. By betraying her husband's will, she mentally chooses sides between good and evil, justice and tragedy. 'Othello' presents this struggle, secretively interweaving the deceiving plot that makes 'Othello' stand out from the rest of the 'Shakespearean tragedies'. Leading up to
She chose to put this particular poem right in the centre of the collection because it is the most taboo poem and shows just how much men can influence women in relationships or even just for sex. A good example of this is ‘I went mad for the sex’ from ‘The Devils Wife’ shows she is with him for the sex and she’d do anything to keep getting it. The poems in the first half of the collection the women always escape from the betrayal of men take control. ‘Delilah’ and ‘Mrs Quasimodo’ are good examples of this as in ‘Delilah’ she cuts off his hair, ‘Then with deliberate, passionate hands, I cut every lock of his hair’ shows she took control of the situation and did it as a duty because his hair is what makes him strong, and without it he has nothing. Also ‘I fastened a chain to the door’ is ironic as she is trying to escape from being controlled by him yet she is ‘chaining’ herself inside the door so she cannot escape.
By having sex to rebel against the mind-controlling Youth Movement’s talks about pro-creational sex, Julia goes against the Party because “sexual privation induces hysteria…and could be transformed into war-fever” (822). Sex poses danger to the Party, and because the Party outlaws it, Julia becomes an outsider. Unlike Winston and Julia, Parsons transforms from an outsider who hated Big Brother to an insider after staying in “the place where there is no darkness” (757). The place Parson transforms in refers to the room in the Ministry of Love in which torture alters people’s beliefs. Parson originally holds the belief that evil exists inside the Party, but he changes his beliefs to a pro-Party stance, even going as far as to thanking the Party for saving him.
Miranda forces her will upon Caliban, boisterously teaching “each hour/ One thing or other” to her obviously unwilling student, who wishes upon her “red plague” for making him learn her language (121). His attempted rape is no doubt caused by his own evil desires, but it is also indirectly provoked by Miranda, who although has “taught (him) language”, but his only “profit on’t / is (that he) know how to curse” (121). Hence, Caliban’s attempt “to violate (her) honour” can be rationally seen as an attempt to reverse the power dynamics – for rape is the most obvious physical manifestation of one’s urge to exert power
He is not only violent in his speech, but in his actions. Prospero tells him that he ‘didst seek to violate the honour of my child’. He is referring to his daughter Miranda. He also curses Trinculo for mocking him; he calls him a ‘pied ninny’ and ‘thou jesting monkey’, ‘thou scurvey patch’. He then instructs Stephano to ‘beat him enough and bite him to death.
We knew ahead of time that Medea was bound to murder her children, which I thought should build a nice suspense to the play had it not been mentioned. In addition, the Corinth women and Nurse’s verbal argument to change Medea’s decision on killing her children almost seemed pitiful because despite evoking guilt and awareness of her outrageous actions, she proceeded to do it anyway. However the one scene that made it unsatisfying (was the scene after Medea murdered her children. The verbal argument between Jason and Medea almost seemed like child’s play, engaging in bickering on who was to blame like a Jerry Springer/Dr. Phil show.
This essay will discuss and highlight Othellos character and actions.There will be a contrast made between Othello at the beginning of the play and his downfall throughout the play. As seen in the play Othello’s love for Desdemona is an intense deep love. This is proven when Barbanzio (Desdemonas father) accuses Othello of using witchcraft to make her fall in love with him. Othello responds saying “The trust, the office i do hold of you not only take away but let your sentence even all upon my life”. Here he is saying that is Desdemona claims that her fathers accusations are right then they may not only take his position buth is life included.