Literature evolves from life. Whether it is Elizabethan age or very recent canon of post-modernism, literature has continued to bear the imprints of life and society within the compass of its creativity…
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The plays “Othello” by William Shakespeare and “The Rover” by Aphra Behn bear the essence of their time and most importantly both these contemporary plays have emerged beyond their time, captivating some of the most recent post-modern interpretations and feministic bent of perception has been poignant in their purview. Role of Women in the Plays “Othello” and “The Rover” Against the Context of the Male Dominated Society In order to discuss the alternative role of women in the plays that has evolved from a male –dominated society, it is essential to judge the genre of both the works as the nature of the plays shall evidently determine the perspective from which the women and her empowerment as an alternative factor in a society dominated by masculine facades are presented. It is noteworthy that the play, “Othello” by William Shakespeare is out and out a tragedy, where Desdemona, the victim and the wife of Othello falls prey into the trap of misunderstanding and false infidelity from her husband’s end. On the other hand, “The Rover” by Aphra Behn is a very popular Restoration Comedy where there are multiple plots and intriguingly all of them contain women as a pivot to the plot development. In “Othello” Shakespeare has tried to portray a strong Venetian patriarchal society where the women are viewed as an object of possession, an entity of subjugation, a temptress and a whore but at the same platform they are also viewed as powerless creatures falling into the omnipotent and all-pervasive clutches of destiny designed by men themselves. The three women character Desdemona, Emilia and Bianca are seen at the outset of the play respecting men almost to the point of worshipping them. But Desdemona’s tragic trajectory definitely serves as a lesson to the other women and Desdemona as well. Emilia is seen evolving out as a power centre in the play after the tragic consequence of Desdemona and by the climax of the play, women characters in the play are shown internalising society’s expectations about them. On the same platform they were shown to subjugate under and accept the male authority, behaving the way men want them to react and that seems ‘natural’ to them and to the readers. But in their private moments, they are seen evolving as an alternative power centre in the male dominated society, ‘Nay, we must think men are not gods’ (Shakespeare, 2008). The evolution or the transformation of women characters and the kind of language and actions of women characters incorporated in the plot of the play “Othello” by Shakespeare indicate that Shakespeare’s three women characters although seem subservient but the women characters in the play exhibit a role that indicates a step tentative of approach towards an egalitarian society. This is achieved by the female characters of the play by coming out of the conventional role allotted to the women by men folk of the society. The play “The Rover” is an excellent piece of restoration comedy which was written in two halves and the first part is divided into five plots. There is a definite and pertinent feministic bent within the plot of the play which is displayed through fragmented instances and incidents in the play pertaining to women, vulnerable to rape. Also the tragic consequence of Angellica after being jilted by Wilmore, it becomes quite obvious that Behn used the platform of comedy to launch a protest movement against the powerless status of women in her society. Every plot of the play has a women character subjugated to injustice and misery in the play. And all these women characters simultaneously try to break free the conventional role assigned to them by the society to evolve out as peer and sometimes superior to the men in the play. For
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This research aims to evaluate and present the role of women in The Rover by Aphra Behn. Through the characters of Helena and Florinda, Behn illustrates how women in eighteenth century Europe endured the restrictions of a severely patriarchal society, which denied them the right to make their own life decisions.
Brabanzio’s attitude to women is evident when dealing with his daughter (Shakespeare 24). Brabanzio learns that his daughter and Othello are secretly married when Iago and Rodrigo inform him of his daughter’s disappearance. When Brabanzio is sure that his daughter is missing, he commences a mission to search for Othello with the help of officers.
The principal character, Othello, believing (wrongly) that he has been cuckolded by his wife Desdemona, feels that the only way he can defend his honor is by killing her. He also feels that by doing so, not only would he be redeeming his honor but would also be sending a message to others on the fate of women who betray their husbands.
ic play, according to some critics, only exhibits that the social composition of that particular period tolerated the undignified treatment of women, handled as mere property, and their lowly status in society in which they fall as victims in the end (Hageman 56). However, a
He wonderfully depicted the stand of women in a society that was patriarchal in nature. This is evident in the playwright’s treatment of the heroines in the tragedies Hamlet, Antony and Cleopatra and Othello. The effects of patriarchal system on
Later in the play Lago murders his wife which could be due to his strong hatred for women. He is an extremely cunning individual and makes various characters in the play believe that he has their best interest at heart. He enjoys watching the downfall of people, so his
Answer: My initial impression of Iago is that he is an ambitious and vain man. He is angry that Othello did not choose him as his right hand and he ridicules Cassio as someone who does not know what real war is.
He knows he is evil and he does not even hide it from others who know him well. He has no honor and shame. The film Othello, directed by Oliver Parker, reflects who Iago and Othello are in the play. Iago and Othello are the foils of each other,
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