The Characterization Viragos of Female by Shakespeare's - Term Paper Example

Shakespeare’s Women “Nothing is but what is not”, this ment uttered by Macbeth clearly outlines the characterization of Shakespeare’s female ‘Viragos’. His Viragos are governed by ambiguous forces that violate life’s natural order by undermining the very notion that forms the pillar of the patriarchal society. This reversal of dominant society lies in its significance of re-gendering the word ‘male’ into ‘female’. In Hellenistic philosophy, women in earning the title of ‘Virago’ surpassed the expectations of their gender by embodying masculine-like aggression and/or excellence that marked the very nature of powerful men. It was a title of respect and admiration that female Viragos acquired. Shakespeare in his characterization of Lady Macbeth in Macbeth and Goneril in King Lear has played upon the very nature of the term ‘Virago’. He has not only associated the word with the gender transgression but also has used it to uphold the norms of misogyny prevalent in his times. He concentrates on the masculine aggression of his ‘femme fatal’ to infer that Virago indeed is not excellent or heroic, but is the very cause of the social anxiety. This anxiety finds its roots in the origin of Viragos sustained by the violation of the cultural norms. Some critics like Shapiro regard Shakespeare’s characterization of the Viragos as a feminist move; although I am more inclined to agree with Irene Dash (1997) that “Shakespeare manipulated the notion of Virago for he wrote for the male entertainment” (1). Indeed it would be historically incorrect to regard him as a feminist. Nevertheless, with his deep sensitivity of human character Shakespeare brilliantly portrays the condition of women within the patriarchal society as depicted in the characterization of Lady Macbeth and Goneril. Both these ‘femme fatal’ show masculine aggressiveness as required by a powerful female Virago; however, their limit lies in their feminine position within the male dominated society. Shakespeare seems to portray the social anxiety caused by this ‘femme fatal’ by focusing upon the intelligence of his women characters. In the characterization of Lady Macbeth, we have an archetypal ‘femme fatal’ who manipulates her husband with remarkable effectiveness. She is guided by no uncertainties like her husband and shows a remarkable strength of will. Like a Machiavellian character, she works through the position of her husband. Her first glimpse defines her character – she is seen plotting the death of Duncan by cajoling her husband so that she can inherit the title of the Queen. She overrides her husband’s objections by questioning his manhood. Her headstrong attempt to unsex herself and her masculine difference makes her a terrifying presence in the play. Her attempt assumes the extreme violent masculine behavior when she urges Macbeth to kill Macduff’s wife and children. Goneril, on the other hand, uses flattery as a tool to manipulate her father’s decision in dividing his kingdom. Her characterization is defined by her first glimpse where she is shown as an aggressive woman obsessed with the power that can go to any limit in order to satisfy her appetite. She is seen as a personification of evil: a woman who can even kill her own sister to secure her sexual desires for the man other than her husband. She is painted as a woman having no tint of conscience but appetite which ultimately ruins her. This disturbance in normative gender roles defied by both Lady Macbeth and Goneril equivocally bends with the tragic world of Macbeth and King Lear. Lady Macbeth with her brains and will provides a platform for the witches’ prophecies that mark the tragic world of the Macbeth. Together with the witches’ prophecies, Lady Macbeth sparks the ambitions of Macbeth and encourages his violent behavior which ultimately leads to his ruin. She embodies perfect example of a woman destined for the destruction of the man. It is because of her characterization that Macbeth’s ruin at the hand of Macduff who is “untimely ripped” out of a woman’s womb is possible. For Macbeth was born ‘intellectually’ out of woman’s womb, i.e., out of Lady Macbeth’s womb. She being a destructive force would ultimately lead him to his ruin. Goneril, on the other hand, paves the way for the ruin of Lear that acts as a major cause for the tragedy in the King Lear. She brilliantly plots with her sister Regan to undermine the authority of her father. She uses flattery as a tool to betray the trust of her father which leads Lear to disown his dearest daughter Cordelia and, thus, marking the onset of his inevitable ruin. In this way, one can note that these women are more or less puppets in the hands of the playwright who brilliantly uses them for advancing his tragic plot; they lack unique characterization for ultimately they become pawn to their female sensitivity. Lady Macbeth with her aggressive power exerts great deal of influence over the events of the play. Unlike Lady Macbeth, Goneril is more or less portrayed as a ‘femme fatal’ who is used as a foil towards Cordelia’s genuineness. In his characterization of Lady Macbeth and Goneril as Viragos, Shakespeare diligently portrays the true position of women within patriarchal society. Both the women show considerable masculine characteristics but are ultimately constrained by the patriarchal nature of the society. Lady Macbeth is not fearless enough to follow her thoughts in killing Duncan. She laments on her position as a woman having a man’s soul. Ultimately, she relies on deception and manipulation as her tools rather than violence to achieve her ends. Goneril, on the other hand, relies on her alliance with her crafty sister Regan in order to achieve her purpose. Both Lady Macbeth and Regan because of their low status rely on crafty nature of women and use female methods of achieving power. Here, it is important to note that this female nature not only further their ambitions but also leads them to their ruin. Lady Macbeth’s sensitivity ultimately becomes her constrain which plagues her with the guilt and ends in her suicide. Goneril’s jealousy and sexual desires lead her towards murdering her own sister which results in her own suicide. It might be said that Goneril like Lady Macbeth was also plagued by guilt which led her to kill herself; but, on the other hand, if we look into the other possibilities a woman of her character would indeed prefer dying rather than be punished by Albany. However, if we consider the female nature as a tool to measure these women, we would find them at par with each other. Lady Macbeth unlike Goneril is not filled with the deceitful tendencies which would urge her to fall into adultery. She is loyal to her husband and her ambitions correspond her husband’s well being. She is one of Shakespeare’s most complex character who, on the one hand, is condemned for her ‘Viragous’ tendencies, but is also in a way excused for her acceptance of her guilt which leads her into madness. Goneril, conversely, is the extreme form of a Virago female who can do anything to achieve her ambitions. Therefore, one can see how the theme of power and gender guides Shakespeare’s female characterization. This complexity is further heightened by double-sex reversal implied by the presence of a boy actor. Shakespeare readily exploited girl-into-boy disguise because his women were really men and his audiences knew it. For that purpose, androgyny seems to be an ideal goal and a secular dream for his women characters. To highlight the prevalent social anxieties, Shakespeare used the idea of Virago to portray women having both sexes in one. Shakespeare’s treatment of Lady Macbeth and Goneril defines the notion that gender is not genetically determined. That is to say, the effective determinants of gender differentiation between male and female are social, cultural and psychological in nature. This differentiation, according to Shakespeare, is a psychic phenomenon that drives women toward their ideal dream of androgyny. Hence, we can say that although Shakespeare seems to appreciate the intelligence of his women Viragos, his retribution for his femme fatal is brutal and unforgiving; that exemplifies his notion about feminity, i.e., “frality thy name is woman”. Works Cited Dash, G. Irene. “Introduction”. Women’s Worlds in Shakespeare’s Plays. Univerity of Delware Press: Newark, 1997. Print. Read More