It has been said that in "The Winter's Tale" Shakespeare dramatises the contemporary struggle between masculine and feminine power. In light of this comment, examine the presentation of the relationships between men and women.
It has been said that in "The Winter's Tale" Shakespeare dramatises the contemporary struggle between masculine and feminine power. In light of this comment, examine the presentation of the relationships between men and women. Since the beginning of time a struggle for equality has been present between masculine and feminine powers. The biblical stories of creation have often been used as an excuse to mistreat women. The mythical story of "The Garden of Eden" has been used to display women being easily seduced into wrong doing "The woman saw how beautiful the tree was and how good the fruit would be to eat... so then she took some of the fruit and ate it"; how women corrupt men into wrong doing; "Then she gave some (fruit) to her husband, and he also ate it,” this illustrates women's dependence on men, "made him cultivate the soil from which he had been formed". Also because the male was created first "God took some soil from the ground and formed man out of it” and is often thought of as being the perfection of creation, where as the female is a helper "he formed woman out of the rib (Adam's.)" Even after the Women’s Social and Political Movement, the work that the women achieved during the World Wars and the feminist movement of the 1960's political, economical and social, inequality still exists. The search for equality began through the work of Chaucer in the "Canterbury Tales" during the medieval period and only now is society beginning to realise that males and females can have equal and respective roles. In the Jacobean era, women were considered to be second-class citizens, and when they married they lost any possible inheritance, property and without legal power, had to do as the male pleased. A rhyme from "Voyce of the Lesde Trumpet" (1549) by Robert Crowley reflects the lack of women’s rights during this period; "Now when thou art become a wife,And hast a husband to thy mind,See thou provoke him not to strife,Lest haply he do prove unkind, Acknowledge that he is thine head,And hath of thee thy governance, And that thou must of him be led,According to God's ordnance." As the rhyme suggests, appropriate behaviour for men and women was defined by a rigid set of social expectations. Women in Shakespeare's time lived in a male dominated society which, believed that the power in a relationship naturally rested with the husband. It was both his duty, and his right, to keep his wife and children under control, this right was believed to reflect the same God-given order in human relations that gave the monarch the right to rule over the country "According to God's Ordnance". Paulina, fails to do this, with courage and conviction she defends Hermione against a chauvinistic paranoia and enshrines female virtues. She is an "audacious lady" who stands up to King Leontes, even when his male courtiers feebly attempt to do so. She fearlessly confronts Leontes tyrannical behaviour "and will ignoble you" and criticises him “So were I/A man, the worse about you.” Paulina then succeeds in making Leontes look stupid, when twisting his words and echoing them several times "Good Queen my Lord, Good Queen, I say Good Queen." For speaking the truth and refusing to be silent, Leontes is left with no argument to support his claim that his wife is an adultress he is reduced to insulting Paulina calling her "Dame Partlet", "Callat", Lozel" and "hag." This would have brought a different reaction to a modern audience, from the Jacobean one, who would have considered it an outrage that a woman would have questioned a man, let alone a king, who had been 'chosen by God'. Paulina not only criticises the system but also provides alternatives and takes concrete action, aiming for justice and redemption. She uses the dramatic device of placing the King's baby daughter in front of him; "hath bought you forth a daughter; / Here 'tis; commends it to your blessing." In terms of theatrical presentation this is very dramatic because the baby is actually on stage, so when Leontes orders the baby and the mother to be killed "together with the dam/Commit them to the fire." Whether a modern audience, or a Jacobean audience, both would have been extremely shocked at Leontes' irrational behaviour.It was the husband’s duty and right to silence his wife and keep her under control, and the wife's duty to submit to her husband’s authority without argument. Husbands and wife's who were incapable or refused to live up to these duties, would quickly become the object of gossip and ridicule. Leontes mocks Antigonus, Paulina's husband and one of his courtiers for not being able to silence his wife "What canst not rule her" and
calling him "woman-tired." This comment re-enforces the Jacobean view that men should be the dominant gender. Antigonus "fears his wife" and therefore supports Paulina's argument "let her run but she'll not stumble". He adds weight to her argument, "Hang all the husbands/That cannot do that feat, you'll leave yourself/Hardly one subject" because as a woman in Jacobean society Paulina would not have been taken seriously. At the risk of becoming known as a "scold" or a "shrew" Paulina refuses to submit to her duty as a wife or to the King's instructions vowing to use "that tongue I have" with ...
This is a preview of the whole essay
calling him "woman-tired." This comment re-enforces the Jacobean view that men should be the dominant gender. Antigonus "fears his wife" and therefore supports Paulina's argument "let her run but she'll not stumble". He adds weight to her argument, "Hang all the husbands/That cannot do that feat, you'll leave yourself/Hardly one subject" because as a woman in Jacobean society Paulina would not have been taken seriously. At the risk of becoming known as a "scold" or a "shrew" Paulina refuses to submit to her duty as a wife or to the King's instructions vowing to use "that tongue I have" with "boldness from my bosom." According to traditional, Jacobean views; women who hassled or argued with their husbands too much too often threatened to disrupt the balance of masculine dominance. A husband who could not control his wife was often assumed to have also failed controlling her sexuality as well. After forcing Leontes to face the brutal result of his jealousy, Paulina acts as his conscience reminding him of the mistakes that he made "To a perfect woman, she (Hermione) you killed." Despite the encouragement of some of his courtiers such as Cleomenes and Dion "you pity not the state, nor the remembrance/ Of his sovereign name" Leontes refuses to marry "No more such wives, therefore no wives" without Paulina's permission "My true Paulina/We shall not marry till thou bid'st-us." Through not marrying, Leontes will not provide a heir to his throne and will leave the kingdom on the verges of chaos "What dangers, by his Highness' fail of issue, /May drop upon his kingdom and devour/Incertain lookers-on." The Jacobean audience would be able to relate to this. Having lived through Queen Elizabeth I's reign, who did not marry or produce an heir. After her death, this caused many problems because a suitable protestant heir had to be found. This would have therefore resounded on the audience much more than with modern audiences.After her 'death' Hermione becomes idealised, immortal, almost perfect because Paulina has acted like a fairy Godmother reminding Leontes of all her perfect attributes and qualities "flowed with beauty once." As Carol Thomas Neley describes, Paulina changes from "shrew to wise counsellor and engineers the penance that will transform (Leontes') tragic actions into a comic conclusion." In actual fact Paulina has been harbouring Hermione for the last sixteen years to ensure Leontes redemption. Paulina's last act is to restore order in the community, combining magic with wisdom; she becomes god-like by breathing life into Hermione. In 1733 critic and editor, Lewis Theobald, condemned Paulina as being "too gross and too blunt "for daring to call the King "downright of a Fool". In 1863, scholar and critic, Charles Cowden Clarke said that Paulina was excessive "... she does play the tattoo upon his skull by amazing vivacity and after he is down, too... Paulina cannot forego the gratification of punching him in his maundering distress." In 1969 critic Fitzroy Pyle acknowledged Paulina's "goodness" but applied the label "Militant." Similar sentiments are shared with the use of more hostile language when Leontes abuses Paulina with insults such as "Crone" and "witch." Being called a "witch" would have been a very serious accusation in the Jacobean society where there was wide and pitiless persecution of witches. James I himself was very interested in witchcraft writing a book his "Daemonologie" in 1599. When a witch was accused, proof was not needed; they were immediately executed. Therefore to call Paulina, a "witch" was a very serious accusation; one for, which the King could have had her, executed. This comment has less relevance to modern society, as a modern interpretation of witches is that they are mythical creatures. The topic of witchcraft is later re-enforced by Polixenes insult to Perdita "Thou fresh piece of excellent witchcraft" which emphasis the severity and extent of witchcraft and the oppression of women during this period. The ideal women in Jacobean England would have been chaste, patient, humble, forgiving and obedient "A turtle in her love, a lamb in her meekness, a saint in her love, an angel in her soul." (Nicholas Breton). To an extent, Hermione embodies these qualities; she remains obedient to her husband, despite his mistreatment of her "I never wished to see you sorry/Now I trust I shall." she remains constant in her struggle for honour, even in her trial scene " The testimony on my part no other/but what comes from myself, it shall scarce boot me/ to say 'not guilty:' mine integrity/ Being counted falsehood, shall, as I express it/ Be so received," her chastity is never brought into question "You do but mistake" and she is forgiving of her husband's blunders "How will you grieve you when you come to fuller knowledge" and treatment of her "Let the King's will be done!" Hermione moves beyond the stock figure of the long and suffering wife; the courage and respect she displays during the trial scene, is not merely emblematic of goodness personified but makes the audience, whether Jacobean or modern, aware these are the virtues possessed by a remarkable individual. She manages to endure the ravings of a tyrannical and patriarchal ruler Leontes with dignity and respect "You speak a language, I understand not," which is juxtaposed against Leontes irrational behaviour; "You had a bastard by Polixenes."Hermione is often described as 'peerless' and is an eloquent and exemplary figure; "Let the King's will be done" despite her husbands misuse of power. Leontes abuses his wife, not only through the power of him being the dominant gender in the relationship, but also through his power as the King; wildly accusing her of 'virginalling upon his palm', 'paddling palms', calling her a 'hobby-horse' and describing her as 'slippery.' In Jacobean England a wife's sexual fidelity was the most shameful and emasculating loss of control imaginable, and reflects the cultural fears about what would happen if the structure of marriage was turned upside down. The husband of an adultress was considered a ‘cuckold' and often depicted as growing horns out of his head "wear the horns." The mere suggestion that a woman was having sexual relations with another many could greatly damage her reputation. Female honour and social respectability were tied in so closely that death was often preferable to the loss of a woman's chastity. Leontes accuse his wife of adultery without any evidentiary support based upon overhearing a few lines of Hermione and Polixenes conversation "You did continue fault/With any but us" and the fact that she was able to get Polixenes to stay at her husbands request "Tongue-tied, our Queen? Speak you." Leontes' he is able to make these unjustifiable accusations because he is a man, the King and Hermione’s husband, and this reduces the public opinion of his wife from a respected and admired "fair Queen" to that of a promiscuous women. Women were considered to tempt men into commit sin, and were polarised as either whores or virgins. The church was a powerful influence in the Jacobean period of the play, and their attitude to women was that it was ‘better to marry than burn” (St Paul). The Jacobean audience would have been able to relate to this, because of the treatment of Anne Boyeln by Henry VIII. In 1536, where solely on the King's accusation she was arrested, accused of adultery and incest, then held and put on trial at the Tower of London. With dignity, Anne denied all of the charges brought against her, however she was found guilty and beheaded. Therefore this would hold more relevance to a Jacobean audience in comparison to a modern one. For hundreds of years women had the power of knowledge over men that they would always know the paternity of their children. This is a true testament of female power. Leontes in "The Winter's Tale" begins to doubt his sons legitimacy "Macmillus/Art thou my boy?" assuming that because Hermione is unfaithful she has always been and he has no way of testing whether or not he is the father “No man can ever be sure of his wives fidelity.” Leontes questions the paternity of Mamillius, and so absolves himself of the responsibility to provide for the boy's safety, happiness, and wellbeing. Shakespeare pursues the issue of hereditary likeness when Leontes begins to compare his son to him; "`What? [Hast] smurch'd thy nose? / They say it is a copy out of mine'" and later Paulina states "It is yours/ So like you, 'tis the worse. Behold, my lords, / Although the print be little, the whole matter/And copy of the father . . . And thou, good goddess Nature, which hast made it/So like to him that got it." Paternity was an important issue in Jacobean society because the eldest son would inherit all his father's property and therefore if the son was not his, the wrong person would inherit. Which in the case of Leontes son would mean the throne. Women would always know the paternity of their children; this would give them a small amount of power, in terms of knowledge. In today's society as with the development of paternity test through DNA women no longer possess this power; inheritance does not necessarily pass to the eldest son, so paternity is not as relevant.In a spring time country setting, Shakespeare presents, Perdita decked in flowers "Peering in April's Front" and giving them out to people "For you there's rosemary and rue; these keep/seemingly and savour all winter long." "The Winter's Tale" links Perdita to the Roman goddess Proserpina of the spring and growing things." In Shakespeare's later plays such as "The Tempest" and "The Winter's Tale" there is a distinct revival of the positive and lyrical qualities in women. Perdita is compared by Florizel to a goddess "Most goddess-like" and possesses qualities usually associated with a goddess for example grace "A fair one are you", gentle "gentle maiden", purity and beautiful "were never for a piece of beauty rarer" this becomes evident in the sheep shearing scene where the other shepherdess are being accused of being pregnant "He hath paid you all he promised you; may be he/ has paid you more, which will shame you to give him/again" and being promiscuous. Perdita is not afraid to talk about her sexuality; she is straightforward and up-front unlike the other characters in the play, showing that she has a healthy sexual appetite "Desire to breed me". Moreover, she frankly looks forward to the consummation of her love with Florizel, "quick, and in mine arms". Shakespeare captures a confident sexuality through the openness of her speeches “Desire to breed me” and actions. Which although acceptable in modern society would have been scorned upon in earlier periods. In Perdita's verse she is fully assured and mature "To chide at your extremes it becomes me". She successfully argues with the wise, well educated and refined disguised King, on her attitude about the topical issue of nature and art, this shows her intelligence "By bud of nobler race...art itself is nature". This of course, is a representation of her own situation because although Perdita is a natural princess, she was nurtured in a shepherd's cottage. The relationship of Florizel and Perdita transcends all other relationships in the play. Florizel is a wholesome, loyal youth whose devotion and commitment to Perdita is unquestionable and is demonstrated by his determination to marry her, even though she is of a lower class and against his fathers wishes "Why look you so upon me? / I am but sorry, not afeard; delay'd, / But nothing alter'd: what I was, I am; /More straining on for plucking back, not following /My leash unwillingly" even if it means losing his crown "For I cannot be/Mine own, more anything to any, if/ I be not thine". The Jacobean audience would have been aware of the social restrictions that were defined by class. It was impossible to move out of one's class by marriage, or any other means, unlike modern society. It was believed that God defined an individual’s status for example a princess will always possess the noble, inherent qualities despite the environment in which she was raised. In contrast the opinions of today’s audience would be that environment and social upbringing has a serious affect on the way in which a person matures. Florizel always speaks of Perdita with high status as if his equal "you the queen". This relationship shows the equality of both the masculine and feminine powers. There are a number of injustices and misuses of power by men towards women, throughout "The Winter's Tale" Hermione the Queen was proclaimed a 'strumpet', after the father refused to acknowledge his child "This brat is none of mine!" who is born in prison and then taken away to "some remote and desolate place." Hermione is also, denied the childhood privilege which "longs/to women of fashion." Women are called various names throughout the play Paulina "Dame Partlet" and a "Callat"; Hermione a 'hobby horse' and an 'adultress and Perdita called a 'witch'. Perdita has her status removed and left in some 'desolate and barren' place by her father. Men misuse their power in order to oppress women and exert their masculine authority, yet the women are always right, for example when Perdita for-warns Florizel of Polixenes when he finds out about their relationship; "Your resolution cannot hold when tis/Oppos'd as it must be, by th' pow'r of the King". Power has many different meanings it can mean politically or personally. In terms of political power men have the majority of power because during the Jacobean era women were not considered capable for the roles in power in case they allowed their emotions to 'get in the way'. Therefore it was men who held the most political power. However the men, in "The Winter's Tale" abuse this power; for example when Polixenes orders the separation of Florizel and Perdita "Mark your divorce" and threatens death and torture as Leontes had in previously done "I will devise a death as cruel for thee/As thou art tender to't." It is the women who dramatically change the order of events such as when Paulina harbours Hermione for sixteen years, a sign of great power. Unlike men, women are able to manipulate and change the minds of people, such as Paulina, when she refuses to allow Leontes to re-marry. Shakespeare gave us three women; all of whom are constantly right and have no power, where as the men have all the power and are constantly wrong. Almost four hundred years after Shakespeare's "The Winter's Tale" was written, the humanity, depth and complexity of his female characters still captures women’s struggles in a male dominated society. Critic Irene Dash states "Shakespeare’s women characters testify to his genius... they learn the meaning of self-sovernity for a woman in a patriarchal society." The female characters of "The Winter's Tale" prove Dash's comment, as Shakespeare shows the goodness women through the honesty of Hermione, the youthful constancy of her daughter Perdita and the consummate righteousness of Paulina. Through these female characters Shakespeare enshrines female virtues, that were not present in other literature in Jacobean England. An argument in the Jacobean era based on the "Garden of Eden" states that women were imperfect an unfinished version of the male, inferior in the virtues of intelligence, strength, courage and self control yet in "The Winter's Tale" it is men, not women, who lack these virtues. He provides the audience with three females whose opinions and actions are always right and yet they are powerless. Whereas men such as Leontes have power but are constantly wrong. Through the presentation of his characters Shakespeare is illustrating the inequality and oppression of women in the 17th century, thus highlighting the struggle between masculine and feminine powers. Shakespeare’s women characters appeal to everyone, "He had a psychological depth that is only in this century beginning to be fully understood" (Schepps). Shakespeare was ahead of his time he " psychologically observed and anticipated a modern understanding of human motivation. Long before Freud existed, Shakespeare understood human nature... Shakespeare’s characters, especially when he is writing at the height of his maturity... genuinely reflects the complexity of the human heart. His plays are full of human beings" (Marti Marden). This means that Shakespeare reinvented the stereotypes by creating characters in particular women, who were completely rounded, where as other plays had great characters but they were usually two dimensional or flat. Paulina's outspokenness and nagging criticism of the King for example, are inappropriate for the social expectations of female behaviour at this time but Shakespeare re-defines the word "scold" in his play and shows Paulina's comments to be necessary, heroic and welcome "There is no lady living! So meet for this great errand." She is therefore not the stereotypical scold but a fully drawn character possessing both verisimilitude and individuality. Daly and feminists would argue that this play still holds a valuable message for society today. Shakespeare's carefully crafted female characters of Perdita, Paulina and Hermione are memorable examples of female superiority and virtue being unwisely and unjustly assailed by authouratian males. Shakespeare therefore was for the contemporary struggle in the Jacobean period, that men and women were subjected to every day, and the need for equality of women. Bibliography: Boyce, Charles "Shakespeare A to Z: An essential to his plays, his poems, his life and times and more" New York, Roundtable Press, 1900Clarke, Charles Cowden. Shakespeare-Characters; Chiefly those Subordinate. London: Smith & Elder, 1863. Reprinted by AMS Press, NY, 1974. Daly, Mary and Jane Caputi. Webster's First New Intergalactic Wickedary of the English Language. Boston: Beacon Press, 1987. Dash, Irene. Wooing, Wedding, and Power: Women in Shakespeare's Plays. New York: Columbia University Press, 1981. McEnvoy, Sean: "Shakespeare the basics" New York, Routeledge, 2000McLuskie, Kathleen. "The Patriarchal Bard: Feminist Criticism and Shakespeare." London: Cornell Univ. Press, 1985. Mackey Sally and Simon Copper "Drama and theatre studies." Stanley Thornes Neeley, Carol Thomas. "The Winter's Tale: Women and Issue" (1985). Reprinted in the Signet Classic Edition of The Winter's Tale. New York: Penguin, 1988. Pyle, Fitzroy. The Winter's Tale: A Commentary on the Structure. New York: Routledge & Paul, 1969. Richards, Adam and Gerald Gould "Into Shakespeare: a introduction to Shakespeare through drama." London: Warlock Educational publishers (1977) Tillyard E.M, "Shakespeare's last plays." Chatto and WindusWilson, Dover "Life on Shakespeare’s England" Cambridge University PressFolger Shakespeare Library: www.folger.edu/ Internet public Library- Shakespeare bookshelf: www.ipl.org/div/shakespeare/shakespeare.html Absolute Shakespeare- absoluteshakespeare.com/ Word count: 2023