This paper deals with the question how women are depicted in English Renaissance drama, exemplified by the women inThe Revenger’s Tragedyand in Shakespeare’sHamletandMacbeth.It shall be examined which functions women in the drama fulfill and which conclusion their status allows.
Of particular interest will be the concept of the ‘unruly woman’, who unites characteristics like mysteriousness, seductiveness and inexplicability. The analysis will show that none of the examined characters Gertrude, Ophelia, Lady Macbeth, Lady Macduff, Gratiana, Gloriana, Castiza, Antonio’s wife and the Duchess are shaped plainly but ambivalently. Therefore, no explicitly good or evil female character can be identified. With regard to the widespread misogynistic view on women in the 17thcentury, this speaks for the dramas’ authors. However, various negative human features that are presented as typically female, will be taken into consideration and questioned as the basis for discussing the issue whether the dramatists can be rather regarded as feminists or sexists. Moreover, a short insight into the potential origins of the (male) perception of the Renaissance woman is presented and shall clarify and explain the circumstances, in which rather ‘modern’ matters like woman’s selfperception, ambition and emancipation, self-determination and reputation. The paper’s aim is to expose what the general way of women’s depiction actually is and to investigate if the dichotomy between men and woman can be portrayed in the simplified way of depicting female weakness versus male strength. Furthermore, it shall be focused on the strikingly depicted male superiority and dominance in the plays, its nature, consequences, the connected illusions and, maybe, underlying weaknesses.
Additionally, the analysis will focus on questions suggesting themselves such as the discussion of woman’s habitual death in Renaissance drama, the identification of the different angles of depiction and, above all, the inquiry of the thesis if women are really depicted as morally and socially inferior to men and, if yes, whether this can be justified.
Table of Contents
1.0 Introduction
2.0 Reflections on the origins of the view on women in Renaissance England
3.0 Analysis : Women as morally and socially inferior to men ?
3.1 Women’s hysteria: depression, weakness and suicide in Hamlet
3.2 Behind the scenes of Macbeth: The woman as dominant and ingenious seducer?
3.3 “Wives are but made to take to bed and feed”2: Depiction of woman in The Revenger’s Tragedy
4.0 Renaissance drama: misogynistic view on women or reality depicted? – A conclusion
Objectives and Key Themes
This academic paper investigates the depiction of women in English Renaissance drama, specifically focusing on how female characters are portrayed in Shakespeare's Hamlet and Macbeth, as well as The Revenger’s Tragedy. The central research question examines whether these women are depicted as morally and socially inferior to men and whether such depictions reflect the reality of the era or represent a misogynistic projection by the male authors.
- The concept of the 'unruly woman' and her characteristics of mystery and seductiveness.
- The influence of biblical and religious origins on the perception of women in Renaissance England.
- The dichotomy between male strength and female weakness in dramatic narratives.
- The role of gender-specific madness and emotional strain in leading female characters to their tragic ends.
- The impact of patriarchal structures on the development of female identity and agency.
Excerpt from the Book
3.2 Behind the scenes of Macbeth: The woman as dominant and ingenious seducer?
In the previous examination, it was already shown that the superficial interpretation is often opposed by a more subtle one; it can be said that the viewer’s judgment of characters or situations is likely to change when considering them further and in different contexts. The following analysis focuses on Shakespeare’s depiction of Lady Macbeth as embodiment of women’s strength, ambition, mystery, dominance and androgyny.
It is especially interesting that at first glance Lady Macbeth seems to be one of the subordinate characters in Macbeth since her husband can be regarded as the protagonist, both in the play and in the couple’s life. The whole action seems to gather around Macbeth- the audience promptly learns about his heroic deeds as respected general of the King’s army and the herewith connected rewarding with the title ‘Thane of Cawdor’. In contrast to that, Lady Macbeth rather stands in the background. However, she enjoys the people’s respect as well, which might be partly due to her husband’s status, partly to her self-confident, resolute and intelligent nature. Without doubt, these traits can be identified in several of her actions, thoughts and remarks, as will be shown.
Lady Macbeth functions as Macbeth’s right hand. In numerous situations she acts as support and even as “rescuer” for her husband: for example, on the arrival of King Duncan, she skillfully pretends to be the “honour’d hostess”, as Duncan calls her (1.6.11). (Alert, she uses this opportunity to prepare the murder by hiding her true character and lulling Duncan into a false sense of security, which underlines both Lady Macbeth’s assurance and her cold perfidy.) Later, when Macbeth is talking to Banquo’s murderer during the feast, she reminds him of his duty as king to express ceremony and amusement (3.4.32f). Ultimately, Lady Macbeth factually saves her husband from a situation he can not control- his fit connected with the appearance of Banquo’s ghost. Here, she is not only able to calm the guests but also energetically talks Macbeth out his apparition. The dissolution of the feast as immediate reaction towards Macbeth’s second fit, shows that Lady Macbeth is a practical, determined and resolute person.
Summary of Chapters
1.0 Introduction: This chapter outlines the paper's aim to analyze the depiction of women in Renaissance drama and introduces the research questions regarding female social and moral status.
2.0 Reflections on the origins of the view on women in Renaissance England: This section explores how biblical teachings and historical patriarchal figures shaped the perception of women as inherently inferior and sinful.
3.0 Analysis : Women as morally and socially inferior to men ?: This chapter serves as the core of the analysis, investigating how female characters are portrayed through the lens of weakness, hysteria, and subordination.
3.1 Women’s hysteria: depression, weakness and suicide in Hamlet: This section examines the tragic roles of Gertrude and Ophelia and how their actions and mental states are framed by the male-dominated court.
3.2 Behind the scenes of Macbeth: The woman as dominant and ingenious seducer?: This part explores the complex role of Lady Macbeth, discussing her ambition, dominance, and the eventual disintegration of her character.
3.3 “Wives are but made to take to bed and feed”2: Depiction of woman in The Revenger’s Tragedy: This section analyzes how female characters in this play are reduced to objects of desire or victims of male violence.
4.0 Renaissance drama: misogynistic view on women or reality depicted? – A conclusion: The final chapter synthesizes the findings, suggesting that while the plays reflect common gender stereotypes, they also reveal a human depth that complicates the simple misogynistic readings of the period.
Keywords
Renaissance drama, Shakespeare, Macbeth, Hamlet, The Revenger’s Tragedy, gender roles, patriarchy, unruly woman, female depiction, morality, misogyny, hysteria, femininity, ambition, social status
Frequently Asked Questions
What is the fundamental subject of this research paper?
The paper explores the representation of women in English Renaissance drama, analyzing specific female characters in works by Shakespeare and the author of The Revenger’s Tragedy.
What are the central themes discussed in this work?
Key themes include the perception of women in the 17th century, the intersection of patriarchal power and female identity, and the recurring motifs of female mystery, hysteria, and victimization.
What is the primary goal of this research?
The study aims to determine whether the female characters in the selected dramas are truly portrayed as morally and socially inferior to men, or if these depictions are influenced by the authors' male-centric perspectives.
Which methodology is applied in this research?
The author employs a comparative literary analysis, examining both primary dramatic texts and secondary historical and feminist literature to evaluate the context of women's depiction.
What does the main body of the paper cover?
The main body focuses on detailed character analyses, specifically looking at Gertrude and Ophelia in Hamlet, Lady Macbeth in Macbeth, and various female figures in The Revenger’s Tragedy.
Which keywords characterize this academic work?
Important keywords include Renaissance drama, gender roles, patriarchy, female agency, and the dichotomy between virtue and vice.
How does the paper analyze Lady Macbeth’s character development?
The analysis portrays Lady Macbeth as an intelligent, ambitious figure who utilizes androgynous characteristics to assert dominance, but whose eventual downfall highlights the conflict between her desires and the patriarchal constraints of her world.
What is the significance of the biblical context mentioned in the paper?
The Bible is identified as a foundational source for the Renaissance views on women, specifically regarding the concept of Eve's original sin, which was used historically to justify the subjugation of women.
Why are the female characters frequently depicted as committing suicide?
The paper suggests that suicide in these dramas often serves as an escape from the "gender-specific madness" and emotional burnout resulting from their entrapment in male-dominated, patriarchal structures.
- Quote paper
- Adriana Zühlke (Author), 2004, 'Frailty, thy name is woman': The depiction of women in The Revenger's Tragedy and in Shakespeare's Hamlet and Macbeth, Munich, GRIN Verlag, https://www.grin.com/document/66777
