Women in Shakespeare's works

Women in Shakespeare is a topic within the especially general discussion of

In Shakespeare's tragedies and his plays in general, there are several types of female characters. They influence other characters, but are also often underestimated. Women in Shakespearean plays have always had important roles, sometimes the leading role. Whether they are there to change the story or stabilize it, they are there for a reason. Some women are stronger than others, and their effect on the play is different for each one. They often surpass the male heroes.[1]

Historiography

19th-century criticism

Early criticism of female characters in Shakespeare's drama focused on the positive attributes the dramatist bestows on them and often claimed that Shakespeare realistically captured the "essence" of femininity. Helen Zimmern, in the preface to the English translation of Louis Lewes's study The Women of Shakespeare, argued in 1895 that "of Shakespeare's dramatis personae, his women are perhaps the most attractive, and also, in a sense, his most original creations, so different are they, as a whole, from the ideals of the feminine type prevalent in the literature of his day."^[2] Lewes himself strikes a similar tone of praise in his conclusion: "The poet's magic wand has laid open the depths of woman's nature, wherein, beside lovely and exquisite emotion, terrible passions play their dangerous and fatal part."^[3]

This early period of women in Shakespeare, which ends in the beginning of the twentieth century, is characterised by a very conventional tone and treatment and the confirmation of female submission. The editors of a 1983 collection called The Woman's Part, referencing three books by women authors from the 19th century (an authoritative book, Shakespeare's Heroines: Characteristics of Women by Anna Jameson, originally published 1832, and two fictional biographies in novel form of two of Shakespeare's heroines from 1885) conclude that these early critics are "uneasy" when Shakespeare's heroines behave "unwomanly", and that adaptations of their stories "praise girlish sweetness and modesty in a style that today appears effusive." These are, they say, "culturally induced limitations" on the part of the female critics and authors studying and adapting Shakespeare's women.^[4]

Modern criticism

Recent critics take a variety of approaches to the topic. For feminist critics influenced by

• Adriana, in The Comedy of Errors
• Beatrice, in Much Ado About Nothing
• Bianca, in The Taming of the Shrew
• Celia, in As You Like It
• Cleopatra, in Antony and Cleopatra
• Cordelia, in King Lear
• Cressida, in Troilus and Cressida
• Desdemona, in Othello
• Emilia, in Othello
• Gertrude, in Hamlet
• Goneril, in King Lear
• Hermia, in A Midsummer Night's Dream
• Helena, in A Midsummer Night's Dream
• Helena, in
  All's Well that Ends Well
• Hero, in Much Ado About Nothing
• Hermione, in The Winter's Tale
• Hippolyta, in A Midsummer Night's Dream
• Imogen, in Cymbeline
• Isabella, in Measure for Measure
• Julia, in The Two Gentlemen of Verona
• Juliet, in Romeo and Juliet
• Katherina, in The Taming of the Shrew
• Lady Macbeth, in Macbeth
• Lavinia Andronicus, in Titus Andronicus
• Miranda, in The Tempest
• Margaret of Anjou, in Henry VI Part 1, Part 2, Part 3 and Richard III
• Olivia, in Twelfth Night
• Ophelia, in Hamlet
• Portia, in The Merchant of Venice
• The Princess of France, in Love's Labour's Lost
• Paulina, in The Winter's Tale
• Perdita, in The Winter's Tale
• Regan, in King Lear
• Rosalind, in As You Like It
• Rosaline (only referenced), in Romeo and Juliet
• Tamora, in Titus Andronicus
• Three Witches, in Macbeth
• Titania, in A Midsummer Night's Dream
• Viola, in Twelfth Night
• Volumnia, in Coriolanus

References