She is only addressed as “Curley’s Wife” – her real name is never said. This has strong suggestions that women at this time were men’s possessions, as if they were used merely as objects, part of their property and didn’t have the same rights as they did – women are inferior. The phrase “I don’t know why I can’t talk to you. I ain’t doin’ no harm to you” could me shadowing how women are simply seen as either virgins or whores. Curley’s wife is portrayed as being a whore – but this is only due to the way she dresses, her provocative ways and the way she acts around men, as if she is aware of her femininity.
Othello says to her “It gives me wonder great as my content to see you here before me. O my soul’s joy!” (2.1.199-200). These beautiful and loving words are soon changed to hostility and rage with the thought of Desdemona’s betrayal. Both Desdemona and Hero are accused of being unfaithful through presented “ocular proof”, they are both disgraced by the leading male role, and they are young and inexperienced in the ways of love and both women are extremely forgiving after they have been mistreated by their suitors. Much Ado about Nothing was written by William Shakespeare as a comedy, but it could have very well been turned into a tragedy comparable to Othello.
Beatrice is cynical and witty; she doesn’t conform when it comes to the role of women in Elizabethan time. In terms of how males view females, there is a theme of cuckoldry (men who married unfaithful wives). This is shown in the first scene when Leonato confirms that Hero is his daughter, ‘Her mother hath many times told me so’, a joke at her expense, implying she is unfaithful to him. In a conversation between Claudio and Benedick, they talk about Hero. Claudio asks if he ‘noted’ her, Benedick tells him he did not, but he ‘looked on her’.
When Mrs. Mooney is observing Polly’s interactions with young men, she becomes frustrated that “none of [the men] meant business” and considers sending Polly back to her previous job (63). Mrs. Mooney is highly focused on her own aspirations, and therefore compromises her sense of empathy. Mrs. Mooney is a heavy influence on Polly’s actions. Mrs. Mooney acts as if she is unaware of Polly’s affair with Bob Doran; however, Mrs. Mooney and Polly share an unspoken understanding. Mrs. Mooney is the ringleader of Polly’s indecency, and manages Polly under implicit control.
A Doll’s House In Henrick Ibsen’s A Doll’s House, the main relationship we see is Nora Helmer and her husband Torvald Helmer’s. Their relationship is seemingly influenced by their era. When first reading the play, one may suggest that the women in this play are victims of this era. As the plot develops, we see that the relationship is also influenced by Nora’s lies, which suggest she was also a victimizer in her relationship, aside from her era. By the end of this play, we see how Nora’s secret changes the relationship between the couple, as she violates the stereotypical role-play as a wife and mother in her era, which generates her inspirational growth.
The final line “Who could not say, ‘Tis pity she’s a whore?” can be seen as directed towards her and so she is blamed for everything that has occurred. Throughout the play she is seen as quite powerful and headstrong by refusing many marriage proposals and being quite stubborn in doing so. However, she is reduced to a weak being however upon dying which is a culmination of her passions. It is perceived that women are a danger to men and to society as a whole and so Giovanni’s actions are to be blamed not on himself, but on Annabella because of the beauty she possesses. Giovanni states that Annabella’s “lips would tempt a saint” thus showing the corruption her presence inflicts upon even the supposed innocent of men.
Shakespeares portrayal of female characters in the play Hamlet mirrors the way in which women were perceived in his day. The actions of the characters Ophelia and Queen Gertrude are often heavily swayed by the words of the male characters. In the play, the male characters think of the women as archetypes, who do not make choices for themselves, and thus the female characters behave as though they are helplessly caught up in the plot and unable to change their situation’s. Hamlets lover, Ophelia, is by far the most piteous character in the play. Although it was Hamlet who wooed her, and with whom she was intimate it is Hamlet himself who later chastises her for her impious actions.
Iago often refers to her as a prostitute, "A house wife that by selling her desires, Buys herself bread and clothes". She has fallen in love with Cassio, yet he does not speak of his returned affection for her due to his desire for status, and her social standing would affect this dramatically. She is the jealous partner in this relationship and expresses this when Cassio produces Desdemona's handkerchief,
Desdemona is Othello’s wife who he is madly in love with and Iago preys upon Othello’s jealous personality and trusting nature to convince Othello of his wife’s infidelity resulting in the ultimate downfall of Othello – death. Othello’s downfall is caused by his own weakness due to his trusting nature and willingness to believe anything he is told. Early in the play, it becomes evident that Othello is blind to Iago’s evil when Iago says “I am not what I am” (I.i,65). This statement foreshadows Othello’s downfall as it is his trust in Iago, which causes it. Othello believes Iago’s lies and always listens to his advice throughout the play.
Why, say they are vile and false?” He tells Othello just enough to intrigue him; he does this by asking leading questions, “Did Micheal Cassio when you wooed my lady, know of your love?” Iago exasperates Othello by revealing so little, “I did not think he had been acquainted with her”. This adds to Othello’s jealousy about Desdemona and so he keeps asking more questions about what Iago may know “What dost thou say, Iago? He then wants to no all the details, “I prithee speak to me as to thy thinkings”. Iago is gaining more influence over Othello after this point `as Othello is becoming more trusting of him, Iago is putting himself in a place of knowledge and power. The critic leavis also agrees that Othello has no one to blame but himself for his actions, ‘………………………………………….’.