Women in Shakespeares Much Ado About Nothing and Taming of the Shrew E

During the early modern period, despite Queen Elizabeths powerful rule in the mid-sixteenth century, women in England had very few social, economic, and legal rights. According to the British system of coverture, a married man and wife became one person under the law, thus, all(a) the legal rights and responsibilities a woman had when she was single transferred to her save upon marriage (McBride-Stetson 189). Additionally, once married, the entirety of a womans space and wages came under the husbands control thus, in essence, women became the responsibility and property of their husbands (McBride-Stetson 189). Shakespeare, through his writings, illustrates the early modern periods obsession with maintaining the legal subordination of women through marriage. Shakespeares leading lady in The Taming of the Shrew severely contrasts her obedient and demure sister and, in doing so, transcends the gender roles appropriated to her and, thus, must be tamed. In contrast, Much splash About zilchs Hero plays the role of the ideal early modern woman until the nature of her righteousness comes into question. Despite the fundamental differences between the characters of these two women, the financial and object-based language used to describe women as well as the institution of marriage in The Taming of the Shrew and Much Ado About Nothing demonstrate the early modern periods view of women as pieces of property. The play introduces Petruccio as Katherines potential suitor before Petruccio, in fact, meets Katherine however, Petruccio asserts, I have thrust myself into this maze/ Happily to wive and thrive as I may (1.2.52-53). Interestingly, Petruccio lists wiving as his first goal, followed by thriving. In a sense, the ... ...r to that of property and subject to male control. Clearly, the study of these plays serve as prime examples in demonstrating the effect of British common law during the early modern period as well as depicting the societys anxieties in reg ards to maintaining the ultimate upper-hand in regards to womens rights, or, lack thereof. Although Hero is, for the most part, painted as a virtuous character throughout Much Ado About Nothing, the question of her virtue is not only known to be a false-accusation to the audience, but her chastity is quickly restored at the end of the play. Likewise, Petruccio is able to remedy Katherines shrewish behavior into that of a young lady. Clearly, the plots of these plays as well as the repeated associations between women and ones property overtly demonstrate a societal desire to maintain a sense of power and domination over women.

Ursula K. LeGuins The Ones Who Walk Away from Omelas Essay -- America

Ursula K. LeGuins The Ones Who Walk Away from OmelasWorks Cited Not IncludedIn The Ones Who Walk Away from Omelas, Ursula K. LeGuin makes use of colorful descriptions and hypothetical situations to draw us into a surrealistic world that illustrates how unsympathetic society can be. LeGuins ambiguity of how the story lead go is purposeful she cunningly makes her case that each of us handles the undesirable aspects of the world we live in differently, and that ultimately, happiness is relative. As we explore this peculiar world of Omelas, we be prompted to ask ourselves, What do I think is the perfective tense society? What is happiness to me?, and most importantly (to me), Would I walk away from Omelas? While we explore these questions, LeGuin expects that we will discover how far we are willing to go to cross our need for comfort at the expense and pain of others. How important is our material possessions and comforts?Perhaps it would be best if you imagined it as your fancy bi ds, assuming it will rise to the occasion, for certainly I cannot suit you all(1264), LeGuin invites us to take part in what at first seems to be a surrealistic strip through Omelas -- to explore our own Omelas. To partake as the main character in this utopia, this city of odd joy we are urged on by a climaxing tempo of colorful passages and lush scenery, Far off to the north and west the mountains stood up half encircling Omelas on her bay (1264), and jubilant music and dance, In other streets the music beat faster, a shimmering of gong and tambourine, and the people went dancing, the procession was a dance (1264). One can almost hear the childrens laughter, their high calls wage hike like the swallows crossing flights over t... ...at has become desensitized to the pain and suffering of others. LeGuin creates a paradox by offering us the mercy that is not extended to the child. We are given a chance to hunt from Omelas. Will we walk away from Omelas and leave the child to suffer, or stay and become the people of Omelas, with their blank blank smiles?The place they go towards is a place even less imaginable to most of us than the city of happiness (1267). We dont know where the place is that these people escape to. Their fate is uncertain, but for those who leave, it is better to go into the unknown than to remain and be a part of this uncaring, indifferent society. LeGuins short fiction Those Who Walk Away From Omelas suggests to us that it is possible to break away from our learned behavior and take on a new, more caring approach to each other, and the world around us.