Empowerment of Women in Much Ado About Nothing, As You Like It, and The Taming of the Shrew :: comparison compare contrast essays

Empowerment of Women in Much Ado well-nigh Nothing, As You Like It, and The Taming of the Shrew In Shakespeares comedies, m some(prenominal) perchance even most - of the female characters are portrayed as being manipulated, if not controlled outright, by the men in their lives fathers, uncles, suitors, husbands. And yet, there are women inhabiting Shakespeares comedic world who seem to enjoy a greater degree of liberty and personal power than one would expect in a time-honored society. Superficially, therefore, Shakespeares comedies appear to send mixed signals examineing the notion of female empowerment. both(prenominal) women are strong and independent, separates are completely wormy, and the behavior of either seems to be influenced more by theme or plot than by any qualities within the characters themselves. A closer look, though, should make it evident that this is not the miscue as in many of Shakespeares plays, appearances can be deceiving. In some cases, the exter ior behavior is a deliberate faade to block out the characters real feelings in others, it is an acculturated veneer that is burned external as a result of the plays events. Despite their external appearances, though, most of these comedic women belong to one of two op represent archetypes. An examination of these archetypes allows the contributor to see past such deceptions to the real personality beneath. The Daughter and Niece Archetypes inwardly Shakespeares comedies, many of the female characters are portrayed as submissive and easily controlled. Like dutiful daughters, these women submit to patriarchal repression with little complaint. possibly the best example of a daughter character in Shakespearian comedy is the role of bomber in Much Ado close to Nothing. milling machinery is completely under the control of her father Leonato, especially with regard to courtship. When, in Act Two, Leonato believes that Don Pedro may seek Heros hand in marriage, he orders Hero to welcome the princes advances despite the difference in their ages Daughter, remember what I told you. If the Prince do solicit you in that kind, you know your answer (II.i.61-3). Thus we see that Leonato controls not only Heros actions, but even her words as well. In fact, Hero is so thoroughly repressed by the male-dominated society in which she lives that she submits not only to her fathers will, but to that of nearly every other man in the play. She is easily wooed and won by Don Pedro posing as Claudio (II.