Feminist Hamlet Essay - Grade: 78 PDF

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Farai Changunda 1769124 Feminist Hamlet ENGl2004 Dr Gordon

Celia Daileader makes a bold claim that the Revengers tragedy is a feminist Hamlet. I will argue that, unlike Hamlet, the Revengers tragedy centralises female characters, is sympathetic towards their marginalisation in society and demonstrates their agency. Despite this, it is not a feminist narrative because, as in Hamlet, the female figures in positions of authority are unable to assert any power in society. As a consequence females remain with no voice in society. Furthermore, Celia overestimates the extent to which the Revengers Tragedy is feminist and underestimates the extent to which Hamlet is feminist. There is merit in Celia’s statement as it implies that Hamlet is patriarchal and masculine focused. In Hamlet, a centralization of male characters occurs. As the key issue is Hamlet’s quest for avenge his father’s death (Hamlet 1.5.46). This is initiated by the ghost (his father), who tells him that Claudius (his step bother) murdered him and usurped the crown ( Hamlet 1.5.46-47). This focusses the play on Claudius and Hamlet who are male figure and this excludes females. Laertes also seeks to avenge his father’s death (Hamlet 4.7.27). This can easily be overlooked, as the naming of the book draws focus onto Hamlet because it is named after him and it appears that the death of Hamlet’s father is more significant than that of Laertes. As a result, an individual’s problems (Hamlet) are more fundamental than those of the other (Laertes). This is a symbolic representation of mirrors the gendered nature of the patriarchy society depicted in Hamlet, as one gender (male) is prioritized over the other (female). Perhaps the Revengers tragedy is, in apart, a feminist Hamlet because it juxtaposes the centralization of male characters in Hamlet with that of females. The key issue in the Revenger’s tragedy is Vindice’s nine year old grudge against the Duke, for killing his beloved (Gloriana), because she resisted his sexual attempts and preserved her chastity (Revengers Tragedy 3.5.124). This centralizes the notion of females deciding how to live their lives and their ability to resist a masculine authority. This also sets up Gloriana as a feminist martyr, as she dies whilst fighting for fundamental right to freedom. She dares to defy an absolute authority and wins the battle for her chastity. The Duke is killed in a sexually repulsive manner as he kisses the poisoned skull of Gloriana (Revengers Tragedy 3.5.145-148). The Duke is essentially killed for a crime against females. Vindice plots to kill Lussorioso because he continues to use his power to pursue Castiza (Revengers Tragedy 2.2.100-102). The murder of Lussorioso is justified by the fact that, it is based on the brother’s will to protect his sister from a powerful man’s sexual advances.

In Hamlet, Gertrude is portrayed as a Queen who relies heavily on males, as Hamlet states that she was completely dependent on his father ( Hamlet 1.2.147-148). Gertrude occupies a position of power, but fails to show any agency, which depicts women as incapable leaders. Her dependence on Hamlet’s father validates the need for male authority, as women are depicted as hopeless without male leadership. Gertrude is also in a sexual relationship with Claudius who she does not appear to know killed her husband (Hamlet 1.5.46-47). Gertrude is not a witty female character, as she portrays females as naive through her ignorance. However, a counterargument can be made through revising Gertrude’s character, and it would challenge Daileader’s assertion that Revengers tragedy is a feminist hamlet. Celia implies that Hamlet has no feminist aspects. On the contrary, Hamlet’s hatred for Claudius is exacerbated by the fact that his mother (Gertrude) is in a relationship with his father’s murderer ( Hamlet 1.5.49-53). From this viewpoint, it is suggested that not only the ghost, but Gertrude also plays a major role in Hamlet’s decision to seek vengeance. Gertrude enrages Hamlet, through being in a sexual relationship with his father’s murderer, which inspires Hamlet to take action. The Revengers Tragedy has a more positive depiction of feminist activism. The Duchess is not happy because the Duke refuses to exonerate her son during a court trial (Revengers Tragedy 1.2.133). Rather than being passive, the Duchess avenges herself through having an affair with Spurio, and it is revealed to the Duke by Vindice as he dies (Revengers Tragedy 3.5. 190-200). Although the duchess, like Gertrude lacks power to influence society, she compensates through being proactive and challenging the authority of a patriarchal system. The Duchess commits adultery in an act of defiance, as she refuses to be confounded by virtues such as chastity, which men imposed upon women during the renaissance period. Despite the constraints surrounding her, the duchess is able to assert her own agency in a radical fashion, as she refuses to be subservient to the patriarchal system. The duchess also redefines gender roles, as she breaks the convention through taking the leading role in her relationship with Spurio, despite the fact that it was a man’s role to do so during the renaissance period (Revengers Tragedy 1.2.170). The Duchess is a strong feminist character because she displays a remarkable level of resilience through responding to being oppressed by pursuing vengeance, and she succeeds in simultaneously bringing shame upon the Duke and avenging herself through being promiscuous. She defeats the Patriarchal system through becoming a formidable foe, whom they fail to institutionalize. Despite displaying courage and exuding a strong will to live life on her own terms, the duchess symbolizes a radical approach and is unlikely to be accepted by a renaissance audience because her

actions would be construed as immoral. Furthermore, her actions disqualify her from being a role model, because cuckoldry cannot be associated with purity or righteousness. As a matter of fact, she is too radical in her approach to defy patriarchy, and becomes anti-feminist from a moral perspective. Paradoxically, she may justify the need for a masculine dominated society, as she displays women as loose people and instigators of immoral relationships. Furthermore, an author from the 16 th century would not be progressive enough to view promiscuity in a positive light. The image of the rebellious Duchess may be pitched alongside that of Castiza, this allow Castiza’s role to be felt more intensely, as she makes a silent plea for feminist agency in the face of patriarchy. Castiza is tested by the patriarchal system, in the form of Lussurioso and her brother (Revengers Tragedy 1.3.180186). Castiza’s brother (Vindice) attempts to convince her to give in to Lussorioso’s sexual advances through bribing her, unbeknownst to her this is not his intent, but a test of character (Revengers Tragedy 2.1.44-45). However Castiza never wavers, but upholds the values of chastity against those odds (Revengers Tragedy 2.2.41-42). This sets her up as a feminist role model for the renaissance audience, as she proves her purity and incorrigible sense of character. Gratiana offers a modern argument for sex work, as she says that Castiza’s chastity does not pay and that it is better to give in to Lussorioso’s advances (Revengers Tragedy 2.2.240). Castiza responds with a hypermodern counterargument, as she argues that money is not worth abandoning one’s honor (Revengers Tragedy 2.2.41-42). Castiza appears nuanced as she staves off a challenge from a symbol of matriarchal authority in the form of her mother. She offers a complex interpretation of the different fronts that feminism has to fight on, as she triumphs against oppressive male and female figures of authority. Whilst Castiza establishes her own identity against the odds, in Hamlet, Ophelia does not appear to have a voice or anything indicative of her identity. Polonius tells Ophelia how to lead her life as he uses her to spy on Hamlet (Hamlet 1.3.145). This is antifeminist, as it defiles Ophelia because she does not appear to have a conscience or identity beyond being Polonius’ pawn. Gertrude explains that Ophelia commits suicide commits suicide because could not handle her distress ( Hamlet 4.7.199-208). This displays females as feeble because their fate is decided by the way males choose to treat them. On the other hand, this despondent representation of Ophelia exposes the grotesque nature and brutality of Patriarchy, through making it look unethical. Ophelia’s suicide is an act of defiance as she would rather die than continue to be violated by Patriarchy. On the other hand, although Polonius prohibits Ophelia from being in a relationship with Hamlet, it is an act of love, as Hamlet states that he

did not love Ophelia (Hamlet 3.1.129). In this way Polonius fulfils his parental obligation through protecting his daughter from the advances of a man who does not love her, but instead was manipulating her. Celia’s statement is biased, as it does not account for the anti-feminist features of the Revengers Tragedy. Vindice blames women for the problems men cause in society (Revengers Tragedy 2.1.274277). Vindice’s opinion is significant because he is main character, he also communicates to the audience through asides. In this way he can be read to embody the author’s message. Vindice’s statement is an admission on the author’s behalf that females and gold are the problem in society. A fundamental aspect of this play is to scapegoat female characters, as they are blamed for the vile actions of men. It is as though they are blamed for being raped and even their mere existence is problematic. The Revengers tragedy becomes, in part, a sexist play. This shows that the author was not progressive enough to escape the influence of negative stereotypes surrounding women during the renaissance era. The Duchess is cast out for defying the authority whilst Spurio remains (Revengers Tragedy 5.1.130-135). In this manner the play unfairly discriminates against females, as they are forced to be solely accountable for ills they commit with men. From this basis it is easy to account for Castiza’s upholding of chastity, it merely conforms to the acceptable female behavior as imposed by the patriarchal society. It is clear that the representation of society in the play is rife with double standards, as upholding chastity is a requirement for females but not males. The play is sympathetic towards the violation of women, as it highlights repulsion and corruption of society through feminist lenses. The Duke forgives Lussorioso for committing treason because he himself committed adultery and went unpunished (Revengers Tragedy 3.2.128). This is an admission by the Duke that his abuse of women has left him with no moral authority, so he is unfit to condemn others for wrongdoing. Such a scenario could act to dissuade the masculine audience from ill-treating women, as the Duke has become a redundant leader because his violation of women hinders his ability to enforce justice in society. Unfortunately, it remains sympathetic because no attempts are made to empower women. If a feminist play is to be understood as requiring a demonstration of power from females in society, then it is ironic that, The Spanish Tragedy, which is an older play, is more progressive in that direction. Prosperine appears to be a female deity who orders Revenge to administer justice through punishing evildoers in the afterlife (Spanish Tragedy 1.line81). Unlike the Duchess and Gertrude, Prosperine is a

legitimate feminist authority who uses her power and authority to influence the sociopolitical environment. As she is able to create a better society in the afterlife. Celia is correct to acknowledge that the Revengers Tragedy portrays a more positive view of female representation than Hamlet. Revengers Tragedy differentiates itself from Hamlet through centralising female problems and ensuring feminist agency can be felt throughout the play. On the other hand, Celia does not account for the sexist nature of The Revengers Tragedy, as females are blamed for male led atrocities within this play. Nor does Celia acknowledge the lack of female involvement in the running of the society within The Revengers Tragedy. Instead, it is the Spanish tragedy through the figure of Prosperine that illustrates the ability of females to play a major role in the socio-political environment. Hamlet, Spanish tragedy and Revengers tragedy complement one another and together they form a compelling feminist narrative. This is because Hamlet exposes the cruelty of a patriarchal system, whilst Revengers tragedy shows that women can be resilient and have agency in their lives despite being oppressed by a Patriarchal system. The Spanish tragedy encourages females in authority to use their power in a way that benefits both males and females in society.

Bibliography Kyd, Thomas, and Bertram Leon Joseph. The Spanish Tragedy. E. Benn, 1964. Middleton, Thomas, Cyril Tourneur, R. A. Foakes. The Revenger's Tragedy. Harvard University Press, 196 6. Shakespeare, William, and George Rylands. Hamlet. Oxford University Press, 1993....