A Critical Study of Women Portrayed in Shakespearian Play

Sometimes women in the plays of Shakespeare are misguided and greatly suffer from adultery. For starters, Othello kills Desdemona who supposes that she's infidel & when Claudio fakes accusing Hero, he is terribly ill. It appears, even though women of Shakespeare remaining faithful to their current husbands and husbands, are measured by their sexuality. Some women claim that male insecurity regarding women's sexuality is illustrated. problems & ambiguities of the game in his commentary on Hamlet. The issues of pause, vengeance and the discussions on the creation of the plot are key. For Jenkins, Hamlet's key focus is the binary struggle between evil & good, which coexists with each other in the universe and which Hyperion springs from the same stock as satyrus. Johnson (1969) is happy and pleased at a Shakespearean play that has a clear and deep moral intent at last. "The preparation is everything" Johnson wants us all to chat in unison with Hamlet. A complete book on the existence of ghost & on the bad that it stands for was published by Eleanor Prosser (1967). The essence of the fantasy, vengeance, delay and other similar issues were also explored by Wilson Knight, (1949). T. In the view of the educated critic, S. Eliot (1932) considers Hamlet to be a "artistic failure" because of the unnecessary emotion that is justified by play-related evidence. Bradley (1904) also wants to derive a sense of "some larger force" rather than concentrate on other aspects that might divert our focus from this important topic. C. The poem of Hamlet, S. Lewis (1964), is considered more significant than the Prince Hamlet. His attention was based on the issue of delay by Stoll (1933). The brief analysis on Hamlet justifies the thesis as well as its theoretical framework. John Wilders (1995) has discussed it from nearly every perspective in his thorough introduction to Antony & Cleopatra. It starts with the dramatising of a tragic and famous love affair. He touches on the prestige and stature of the legendary and lavish people. He concentrated on Cleopatra as "a marvellous work." He dwells on the swift change from sensitivity to rage and sorrow by Cleopatra. Wilders regards it as a prediction of international politics at the time when numerous opponents are vying for Rome's mastery. He is also aware of the irresistible force and reliance of Cleopatra on Antony. Its dialogue, language and style are no exception. He also reflected on Shakespeare's breach of the unities of time, action and place. From the feminist / patriarchal point of view, Wilders approaches the play, but he does not look at it from this perspective. The play was investigated morally by Dryden (1984) & Dowden (1967). The tragic ending of the protagonists' unethical way of life is due to these two critics. It was condemned as a love tragedy by Svinburne (1909) and Wilson Knight (1965). The game is seen by Swinburne as the "greatest all-time love poem"(318). Cleopatra is proclaimed as the "pure and incarnate lust" by Knight (318). Bradley (1904), for lack of consistently high gravity, omitted the play from his research on Shakespeare's tragedy, but spent some time reading it and found it inferior to Shakespeare 's key tragedies. The picture, particularly the picture of the sword, was examined by Maurice Charney from 1961. The use of this picture is explored by a good study that traces Antony's carrier as a sword walker. has similar feelings about the play. Kenneth Muir (1984) sees Macbeth as structured by the tension between order & disorder. He appreciates its wealth and intensity as well. Muir, however, recognises the ability to be done in an endless number of forms by Shakespeareans drama, reflecting its vastness and complexity. From the perspective of unavoidability and coherence, Robert Bridges (1927) sees the game. He argues that Shakespeare has sacrificed theatre coherence for psychological purposes. Stoll (1943) also makes a similar claim about Shakespeare 's dramatic or literary bias. Critics such as A. The supernatural aspect of the play was focussed by A. Smirnov (1937). Brian Gibbons (1980) concentrated primarily on lyricistism and the sonnet as the quality of this tragedy in his contrast to Romeo & Juliet. In the sense of reconciliation, he also pointed out the greater position of literature by praising the importance of faith and love, and ultimately by restoring order in the universe. As the key theme of the play, Donald A. Stauffer (1949) described Love & its healing power. In terms of its structural and dramatic shortcomings, King Lear has been discussed by a number of critics. It was also commented from the point of view of his creativity and poetry.

Shakespeare realises that women were always socially , culturally and politically marginalised in the history of mankind. Shakespeare has defined gender problems through strong women characters. He provided a wide view of life with an equal focus on both men and women. The social stigma they faced during this period is seen in their female character. He depicts his personal appreciation for intelligent & influential women with virtues & courage.

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[4]. The Complete Works of William Shakespeare (1994) (pdf from Project Guttenberg.com [5]. Richmond, Hugh Macrae (2005). Shakespeare's theatre: A dictionary of his stage context. London: Continuum. ISBN 978-1784029364. [6]. Lewes, Louis (1895). The Women of Shakespeare. Hodder. p. vi. [7]. Lewes, The Women of Shakespeare, 369. [8]. Lenz, Carolyn Ruth Swift; Gayle Greene; Carol Thomas Neely (1983). The Woman's Part: Feminist Criticism of Shakespeare. U of Illinois Press. pp. 10–11. ISBN 978-0-252-01016-3. [9]. Rutter, Carol Chillington (2001). Enter the Body: Women and Representation on Shakespeare's Stage. Routledge. p. 151. ISBN 978-0-415-14163-5. [10]. Jamieson, Lee (2020). "7 Types of Female Characters in Shakespeare's Plays." ThoughtCo, thoughtco.com/female-characters-in-shakespeare-2984939.

Assistant Professor of English, Kanti Indra Mahila Mahavidyalaya, Digha, Patna