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The influences of feminine powers from the Shakespearean plays, Othello, King Lear and Macbeth, portrayed during the opening scenes have affected the courses of male instincts and literary arguments throughout the play. In this study, the emphasis is given to the powers of feminine influences portrayed in the opening scenes and the effects of these to male characters and arguments throughout the play. The three plays of Shakespeare have shown significant interests on how females provided influential to seemingly manipulative roles throughout the play.
In the opening scene of the play Macbeth, the feminine force of Lady Macbeth only becomes evident in the latter scenes (Act I: Scene V), but her character and roles in the play have shown immense manipulation and creative enticement that lures the role of her husband Macbeth from general to king. Lady Macbeth has shown a personality of a domineering wife that pave the way for her husband’s royal disposition. In the story, her presence and feminine influence are evidently illustrated by her manipulation of her husband’s decisions.
The powers of Lady Macbeth portray the similarity towards the militaristic domination of her husband’s task in the military, yet also give contrast to their roles and dispositions, which emphasizes her enticement. On the other hand, the feminine influences present in King Lear are evidently multi-faceted through the roles of characters, Goneril, Regan and Cordelia. Shakespeare is able to centralize the literary course through the discreet and indirect manipulation of character of Cordelia, the youngest daughter of King Lear.
In opening scenes this play, the feminine roles are very much intertwined with the concept of sibling rivalry and patriarchal inclinations, which is more patterned to “Electra” complex of Freudian psychosexual theory. The character of Cordelia has shown her distinct attachments towards the King of France as her husband and the King Lear as her father, while the two sisters, Goneril and Regan, implicate love towards themselves and their husband’s disposition to the society.
Cordelia’s depiction of feminine influence is the main emphasis of the discussion due to her distinct attachments to significant male characters as well as her diverse portrayal in the opening scenes of the play. Lastly, the play of Othello gives rise to the character of Desdemona who have entangled the hearts of two gentlemen, Othello and Roderigo. In the opening scenes, it is already indicated that Roderigo lost the hand of Desdemona to his competitor Othello, who actually became the husband of Desdemona.
In the novel, the roles of women, including Desdemona, Emilia and Bianca, have become the turning point of argument among men. Shakespeare has evidently utilized the imagery of womanhood in order to create the sense of love rivalries, issues of jealousy, scenarios of betrayal and the instinctive manly lust linked to their pride as military personnel and as male human being. The feminine influence is very much intense and evident even in the opening scenes of the play; however, it portrays a different perspective in the form of love triangle between Othello, Desdemona and Roderigo. Discussion
The Opening Scenes of Othello The setting of the opening scene involves the two characters Roderigo and Iago arguing about the secret marriage that occurred between Othello, Roderigo’s literary rival, and Desdemona, the woman who captivated Roderigo. During the first scenes, Roderigo acts furiously and blatantly exaggerates his hatred and defeat towards Iago due to the fact that Desdemona can no longer be with him. Even from the very start, the character of Desdemona is already causing an indirect influence towards the male characters through the depiction of erotic triangle between Othello, herself and Roderigo.
In the advent of Roderigo’s jealousy, he is easily manipulated by Iago’s lying tongue that causes them to further lay down their conflict to the Desdemona’s father, Senator Brabantio. “Iago: Call up her father, rouse him: make after him, poison his delight, proclaim him in the streets; incense her kinsmen and, though he in a fertile climate dwell, plague him with flies: though that his joy be joy, yet throw such changes of vexation on’t, as it may lose some colour. (Act I: Scene I)”
Brabantio, being influenced again by the role of Desdemona as his daughter, becomes protective over her and enrages as he learn the marriage between his pure bred English daughter to a moor. Othello is known as the noble moor in the novel; hence, creating issues of classicism in terms of racial origin. Despite Othello’s military rank (General), he is not welcomed with full acceptance by Desdemona’s patriarchs. “Brabantio: It is too true an evil: gone she is; and what’s to come of my despised time is nought but bitterness. Now, Roderigo, Where didst thou see her? O unhappy girl!
With the Moor, say’st thou? Who would be a father! How didst thou know ’twas she? O she deceives me (Act I: Scene I). ” Literary angles would consider the enticement and manipulation brought by Iago; however, the clear spot on Desdemona, being the subject of argument among men in the opening scenes, is the clearest influence of feminine powers. Brabantio’s patriarchal protectiveness and Roderigo’s lustful intent insist to revoke the clinging of Othello to Desdemona; however, even with progressive accusations (e. g. witchcraft, unreasonable seductions from Othello, etc. , Othello is able to defend himself and his love for Desdemona.
Prior to the frank arguments between Brabantio’s allies and Othello, the noble moor already declared his affection towards Desdemona. “Othello: But that I love the gentle Desdemona, I would not my unhoused free condition put into circumscription and confine for the sea’s worth(Act I: Scene II). ” Shakespeare portrays a different power of female captivity in the initial conflicts of opening scenes. Even without the appearance of Desdemona in the opening scenes of the play, her presence and manipulation over the male characters are already evident.
The protectiveness of Brabantio, the jealous love of Roderigo and Othello’s proof of love for Desdemona have all indicated a tremendous male influence through a simple decision made by Desdemona, which is her marriage with Othello. Evidently, the female character of Desdemona invisibly influences the subjects of arguments (e. g. Iago and Roderigo, Brabantio against Othello, and Roderigo against Othello) present in the opening scenes of the play. The Opening Scenes of King Lear In the play of King Lear, the female parties under the portrayals of the three sisters, Goneril, Regan and King Leer’s most favourite, Cordelia.
The play opens with King Lear and his daughters providing their best interpretations of their patriarchal affinity. Goneril, being the eldest and married daughter, casts well-stated praises for the king but less affinity for a father. “Goneril: …No less than life, with grace, health, beauty, honour; as much as child e’er loved, or father found; a love that makes breath poor, and speech unable;… (Act I: Scene 1). ” Meanwhile, Regan, the second daughter, resembles more of her eldest sister’s remarks although, she places more emphasis on the insufficiencies of Goneril’s description.
It is a higher bid, a bold comparative and an assertion that Regan can love better than the eldest. Regan mentions that, “In my true heart “…I find she names my very deed of love; only she comes too short: that I profess myself an enemy to all other joys, which the most precious square of sense possesses; and find I am alone felicitate in your dear highness’ love (Act I: Scene I)”, which gives the hint of her total love for King Lear. Shakespeare’s King Lear somehow illustrates the role of women to please men of the contemporary European society simply through words, which sometimes even blinds them of the real picture.
However, despite the alluring statements provided by the two sisters, Shakespeare decides to have the youngest, Cordelia, as the turning point of feminine enticement in the story, which even influenced the entire literary course of King Lear. Upon the first entrance of King Lear, a significant symbolism of favoritism has already been portrayed for his youngest daughter. His concern over her is vastly impressive and evident as he acknowledges the non-implied burden of Cordelia’s suitors, King France and Lord of Burgundy. However, this affection of King Lear has been seemingly declined by Cordelia during her turn to state her love for the king.
Corderlia’s thoughts assures to her confidence that her tongue is not match for her affection towards her father. “Cordelia: Unhappy that I am, I cannot heave, my heart into my mouth: I love your majesty according to my bond; nor more nor less. (Act1: Scene 1)” This is turning point plays the most significant feminine influences over males in the opening scenes of the play. King Lear becomes enraged, disowns his daughter and leaves her to the King of France to marry. However, Cordelia still provides the greatest affinity towards the king compared to her two sisters.
The feminine influences of the three daughters to their father provide a multi-faceted approach. Goneril and Regan compete for their interest in the king’s inheritance, but their intents show selfish and masked affinity. On the other hand, Cordelia manifests a strong attachment to her father. Despite of the knowledge that failure to gratify the king through word praises might cause the lost of her part in the kingdom shares, she still preferred to announce her honest verdict. In the opening scene, King Lear, with the instinctive manly characters, is easily manipulated by the feminine lingual enticement, which even blinds his site from truth.
King Lear prioritizes his pride and instinct as a man, which blinds him from the real identities and intentions of her daughters. The linkages of the sisters towards the king are related to the patriarchal attachments that should be natural to such familial relationships. The Electra complex depicted in the play and the process on how feminine enticement can manipulate male’s decision is the main influence of feminine roles throughout the play. The Opening Scenes of Macbeth In the Shakespeare’s Macbeth, the feminine influence is greatly portrayed by the role of Lady Macbeth over her husband, Macbeth.
In the story, the three witches have provided their prediction of kingly lineage to Banquo, a military general and Macbeth’s best friend; however, as Lady Macbeth learns of the predictions, she decides to use this together with her husband as an opportunity to own the crown. Lady Macbeth is able to convince Macbeth that the only way to the royal lineage is to eliminate the current monarch, King Duncan. During the conversations of Macbeth and Lady Macbeth, the manipulation of Lady Macbeth becomes evident in her efforts to convince Macbeth for the killing plot. “Lady Macbeth: And when goes hence?
Macbeth: To-morrow, as he purposes. Lady Macbeth: O, never shall sun that morrow see! .(Act 1: Scene V) Lady Macbeth: What cannot you and I perform upon the unguarded Duncan? What not put upon his spongy officers, who shall bear the guilt of our great quell? ” (Act 1: Scene VII). The feminine cunningness of Lady Macbeth has entices her husband for her plot of putting Macbeth in the royal sit. She is even confident to take the overall burden for the sake of her husband’s new position in the royal chambers as evident to her statements, “Lady Macbeth: …to alter favour ever is to fear: Leave all the rest to me… (Act I: Scene V).
The influence of Lady Macbeth is also the main weapon that she chooses in order to fulfill the plot of killing. She decides to lure the king to her enticement prior to the killing and, with that, her cunning statements begin to manifest. “Duncan: Give me your hand; conduct me to mine host: we love him highly, and shall continue our graces towards him. By your leave, hostess (Act 1: Scene VI)” The female influences portrayed in the character of Lady Macbeth illustrate the manipulative and non-offensive strategy of female mind in directing the male’s decision according to their preferences.
Evidently, Lady Macbeth manifests a domineering attitude towards her husband, Macbeth, whom she even considers as innocent and helpless in some non-implied way. Considering the pride of men by nature and the manly instinct suggesting the negation of female position, especially during the contemporary European society, Macbeth is enticed to abide the plans and plots of Lady Macbeth. Moreover, as illustrated in the opening scenes, Macbeth is the one who shows hesitancy over the plot of his wife. “Macbeth: If we should fail? Lady Macbeth: We fail! But screw your courage to the sticking-place, and we’ll not fail.
When Duncan is asleep–Whereto the rather shall his day’s hard journey soundly invite him–his two chamberlains (Act I: Scene VII)” It is important to note that the culture and tradition from the time of Macbeth’s writing prohibits the insubordination of males by females; however, Lady Macbeth is able to create an illusion of caring character to mask her manipulation. Somehow, the concept maybe contradicting to the prevailing culture of their time, but the strength of feminine influence and dominancy is very much evident in the role of Lady Macbeth to the point that even Duncan acknowledges her bravery.
Following the latter scenes of the play, it is Lady Macbeth who works behind the kingly figure of Macbeth indicating the powers placed by Shakespeare in the woman’s tongue in his Macbeth. Analysis of the Three Plays In the three plays of Shakespeare analyzed in this study, the play Othello mentions the power of Desdemona’s decision in marrying the noble moor, while Goneril, Regan and Cordelia use the feminine touch of patriarchal influence in order to create significant impact in King Lear’s decisions for his kingdom, and lastly, Lady Macbeth who issues direct but properly strategize dominancy and manipulation over her husband, Macbeth.
These women in the following three plays have all shown significant feminine influences towards the male characters of the plays. Despite the different forms and strategies, the feminine image in the contemporary period of society has always become a part of major influential force. The portrayals of feminine influences have all been cited from the openings scenes of the play, and yet, each of the female character in these plays has already provided their significant place in the literary course.
In consideration of Othello’s Desdemona, even without her initial appearance, her single decision of marrying Othello has initiated the conflicts between three male personas, Roderigo, Brabantio and Othello. The conflict between these males stand in the motives of racial discrimination of Brabantio for Othello’s Moroccan origin, and Roderigo’s desire for Desdemona that is halted and ended by their secret marriage. In the opening scenes of Othello, Desdemona has not even mentioned any words but only the decision of secret marriage, and yet the uprising between the three main characters has already climbed the higher intensity.
Meanwhile, the sisters and their king, from the play King Lear? are provided with the scenario of lingual enticements. Goneril and Regan are able to entice their father through their praises full of masked thoughts. However, despite of their masked or seemingly unreal feminine allurement, Goneril and Regan are given portions of the kingdom under the King’s verdict. Meanwhile, the youngest, Cordelia offers the most honest answer he can give, which is the love of expression than love through words.
However, due to Corderlia’s failure in enticing the male pride and instinct of King Lear, she has been banished from the throne including her right as the daughter of the king. The feminine influence being portrayed in this novel is on the aspect of pleasing the male pride, which holds the key in manipulating their superiority and grants – as with the portrayal of Goneril and Regan. Lastly, the dominance of Lady Macbeth towards her husband Macbeth has led to their plot of killing the current minister, Duncan, and subduing the kingdom under Macbeth’s leading.
The portrayal of Lady Macbeth has provided the illustration of the aggressive form of female manipulation through a well-masked intent towards rule and power. Conclusion The feminine influences of the characters Desdemona, the three sisters and Lady Macbeth have all illustrated diverse forms on how females in the contemporary plays of Shakespeare can influence the male society. As for Othello’s wife, Desdemona, she is able to influence the uprising of the male characters in the opening scenes through her simple decision of marrying the racially discriminated individual, Othello, the noble moor.
Meanwhile, the two sisters, Goneril and Regan, are able to entice their patriarch’s affection leading to the favor of having the kingdom’s inheritance. Cordelia, on the other hand, symbolizes how men’s pride can be blinded by false feminine allure, which sometimes hinders male’s judgments of truth. Lastly, Lady Macbeth who provides the portrayal of dominant manipulation over her husband in order to attain higher positions through the royal crown.