Shakespeare: A Heterosexual Feminist

IRJMSH Vol 10 Issue 6 [Year 2019] ISSN 2277 – 9809 (0nline) 2348–9359 (Print) Shakespeare: A Heterosexual Feminist Dr. Yogesh Kr. Dubey1 The present paper attempts to examine Shakespeare as one who could be seen as exposing rather than reinforcing the patriarchal ways of life which subordinate women to men. This paper focuses on Shakespeare’s Problem Plays such as Troilus and Cressida, Much Ado About Nothing, All’s Well That Ends Well and Measure for Measure. Though there is no fixed mechanism to answer the question why Shakespeare wrote his Problem Plays, keeping in view the plays under discussion its seems logical to surmise that during the composition of his Problem Plays Shakespeare was deeply concerned with the social and moral issues affecting women’s life during his time. In Shakespeare’s comedies women exist only for their men. They serve the interest of men. "The histories, Roman plays, and most of the romances have obviously male-dominated plots” (Sharma vii). Unlike the other Shakespearean genres, the problem plays of Shakespeare present women in an entirely new fashion. Women in these plays become important for themselves in a unique fashion. They seem to voice more the woman's point of view. "They not only have a clear sense of themselves as individuals, but they challenge accepted patterns for women's behaviour. Compliance, self-sacrifice for a male, dependence, nurturance, and emotionalism are the expected norms, yet independence, self-control and, frequently, defiance characterize these women" (Dash 1). In any case the female characters in Shakespeare's problem plays challenge Susan Pinker's concept (explained in The Sexual Paradox) according to which "women are biologically hardwired to nurture their young, to prefer working with people they respect, to want flexible schedules that allow them to weave a social purpose in their work lives, and to treat the needs of the people they love as being as important as their jobs" (Goswami 4). The female characters in these plays surpass the male characters and prove themselves clearly better than the male. This superiority of women over men compels us to ponder over the question which Courtney Huston puts: Okay, so God made man first. But doesn't everyone make a rough draft before they make a masterpiece? (Huston 82) 1 Assistant Professor, Department of English, University of Delhi, Delhi - 110007. E-mail: [email protected]; Mobile: +91-9654878494. International Research Journal of Management Sociology & Humanity ( IRJMSH ) www.irjmsh.com Page 321 IRJMSH Vol 10 Issue 6 [Year 2019] ISSN 2277 – 9809 (0nline) 2348–9359 (Print) There is "an implicit (or sometimes even explicit) desire in some women characters in these plays (the problem plays) to go beyond their sex" (Sharma vi). In Troilus and Cressida this desire is clearly stated. As Cressida says to Troilus: . . . I wished myself a man Or that we women had men's privilege Of speaking first. (III. ii. 120-122) Much Ado also states this desire: "Oh that I were a man. . . . I cannot be a man with wishing, therefore I will die a woman with grieving." (IV.i. 302-307) "The women in the problem plays are often women with initiative, and with the desire to do more than is traditionally expected of women." (Sharma vi). This desire finds its fulfilment in Cressida. Cressida's infidelity towards Troilus suggests that she has taken a separatist initiative and has become a separatist feminist. Helena, in All’s Well That Ends Well is another example of the woman who does more than is traditionally expected of a woman. She succeeds in fulfilling her desire of going beyond her gender role. She achieves the masculine privilege of choosing her husband. There are some female characters in these plays who do not look at themselves from the patriarchal viewpoint. Generally, in a phallocentric society woman is seen as an object of man's desire; she is seen as being capable of arousing sexual desire in man. But these plays present women who challenge such a patriarchal outlook. Isabella is one such woman, who does not take herself as a sex-object. She gets ready to let her brother die but does not get ready to save her brother's life at the cost of her honour. As she says: Then Isabel live chaste, and brother die: More than our brother is our chastity. (II. iv. 185-186) Very often women characters, in Shakespeare's problem plays, are found interested in fighting for the cause of women. The Countess of Rossillion, in All's Well, supports Hellena's cause. Diana and her mother also help Helena in the execution of the device of the bed-trick. Beatrice, in Much Ado, fights for the cause of Hero and employs Benedick to challenge Claudio. Measure for Measure projects Isabella and Mariana helping each other. These plays reveal the International Research Journal of Management Sociology & Humanity ( IRJMSH ) www.irjmsh.com Page 322 IRJMSH Vol 10 Issue 6 [Year 2019] ISSN 2277 – 9809 (0nline) 2348–9359 (Print) feminist feeling of sisterhood. Shakespeare in his problem plays appears encouraging women for the bond of sisterhood. Even men in the problem plays are sometimes seen interested in fighting for the cause of women. These plays show that there is a "growth in his [Shakespeare's] male character's capacity to engage in constructive relations with women” (Greene 130). The Duke, in Measure for Measure, though he is a man, does not strengthen the masculine order of brotherhood. He helps Isabella in exposing the real character of Angelo. He privileges his concern for woman over his concern for man. His sympathetic attitude towards Isabella and Mariana projects him as a "feminist in sympathy” (Dusinberre 5). Likewise the king of France in All's Well overlooks the "patrilineal structures of power” (Malcolmson 110) and takes Helena's cause in hands. He empowers her with the "masculine privilege" (McCandless 143) of choosing her better-half. Not only Helena, but Diana is also given the right to choose her husband if she likes. Benedick, in Much Ado, develops into a heterosexual feminist from a misogynist and misogamist male. The patriarchal order of society faces a threat when he gets ready to fight for Hero's cause. In any case these plays focus on "a gradual relinquishing of male bonding in favour of ties with women" (Greene130). Here Shakespeare, as a man with feminist bearings, appears to project the idea that societies must have men with "capacity to engage in constructive relations with women” (Greene 130). Shakespeare’s feminist attitude again gets reflected when his plays expose the systematic misogyny of patriarchy. The issue of the "disparity that favours one sex at the expense of the other" (Greene 129-130) has been focused on in these plays. Cressida in Troilus and Cressida is exchanged for Antenor because being a woman she is treated by her countrymen as an object. Hero, in Much Ado, is easily and falsely charged of committing adultery because she is a woman. Most of the characters in Much Ado, including Hero’s father as well, believe that Hero is unchaste, though there is no sound proof. Probably the reason behind this blind belief in Hero’s unchastity is the fact that during "Shakespeare's life women were considered more lustful than men" (Traub 129). The misogynist structure of patriarchy is revealed through the practice of dowry also. In his problem plays Shakespeare has not ignored the evil practice of dowry that goes against women's interest. In Measure for Measure Mariana is deserted by Angelo because she has no dowry to give him. Claudio says that he has kept his marriage contract a secret for the sake of dowry. Without announcing his marriage contract with Juliet he makes her pregnant which brings her to shame. Much Ado also reveals the temptation of men for dowry. Claudio seems to be interested in marrying Hero because she is the only heir to Leonato. The King, in All's Well, highlights the prominence of dowry in a patriarchal society, when he says to Diana: Choose thou thy husband and I'll pay thy dower. International Research Journal of Management Sociology & Humanity ( IRJMSH ) www.irjmsh.com Page 323 IRJMSH Vol 10 Issue 6 [Year 2019] ISSN 2277 – 9809 (0nline) 2348–9359 (Print) (V.iii. 317) Shakespeare’s problem plays mirror the role of dowry in making or marring a woman's life. Thus Shakespeare stands exposing how in patriarchy through the practice of dowry women are made into believing that they are inferior to men and incomplete without dowry. Man's treatment of woman as a sex object is another issue which this paper foregrounds. In Measure for Measure Angelo sees Isabella as an object of his sexual gratification. Claudio, though he is Isabella's brother, also sees his sister as capable of arousing desire in men. As he says to Lucio: . . . in her [Isabella's] youth There is a prone and speechless dialect Such as move men; (I.ii.163-165) Bertram also, in All's Well, looks at woman as a sex-object. He lusts after Diana and says to her: Stand no more off, But give thyself unto my sick desires, Who then recovers. Say thou art mine, and ever My love, as it begins, shall so persever. (Iv. ii. 34-37) Cressida is also treated by the Greek leaders as a sex-object. Ulysses advises that she should be kissed in general by all. When it comes to her lover Troilus, he does nothing to protect her from being exchanged for Antenor. On the contrary he tells her to remain faithful to him in the enemy’s camp and decides to give her nightly visitations in the Greek camp. To quote the words of Troilus: I will corrupt the Grecian Sentinels To give thee nightly visitations. But yet, be true. (IV. iv. 71-73) International Research Journal of Management Sociology & Humanity ( IRJMSH ) www.irjmsh.com Page 324 IRJMSH Vol 10 Issue 6 [Year 2019] ISSN 2277 – 9809 (0nline) 2348–9359 (Print) Man's treatment of woman as a sex object has been widely exposed by Shakespeare in these plays. Further the issue of daughters being treated as the property of their fathers has not been ignored by Shakespeare. Cressida does not want to leave her country. But she has to leave Troy and go to the Grecian camp because it is her father's desire. Likewise Hero, in Much Ado, doesn't choose her husband but gets ready to marry a man of her father's choice. The social reality of husbands’ domination over their wives has also been taken into consideration in these plays. "The social reality in this period clearly is that the husband is the master and the woman is to obey him in all circumstances” (Singh 31). Hector, in Troilus and Cressida, reveals the patriarchal viewpoint about husbands' ownership of their wives. As he says: Nature craves All dues be rendered to their owners. Now What nearer debt in all humanity Than wife is to the husband? (II. ii. 172-175) Besides revealing the patriarchal attitude towards the relationship between husbands and wives, he shows the patriarchal practice through which husbands establish their dominance over their wives. We see him chiding and ordering his wife. You train me to offend you; get you in. (V. iii. 4) Bertram is another husband, who represents patriarchy. His mistreatment of his wife, Helena, is not an exception of the patriarchal view according to which husbands are the lords and wives belong to husbands like other objects of property. Shakespeare shows husband’s marginalisation of his wife. The concept of chastity is another important issue which has been dealt with in Shakespeare’s problem plays. In a phallocentric society, chastity is of the utmost importance but in its implementation the male-bias can easily be observed. The Duke in the guise of a friar, in Measure for Measure, holds Juliet more sinful than Claudio for the sexual relationship between them. It shows that "unchastity in the sense of sexual relations before marriage or outside marriage, is for man, if an offence, nonetheless a mild and pardonable one, but for women a matter of the utmost gravity” (Singh 1). International Research Journal of Management Sociology & Humanity ( IRJMSH ) www.irjmsh.com Page 325 IRJMSH Vol 10 Issue 6 [Year 2019] ISSN 2277 – 9809 (0nline) 2348–9359 (Print) Shakespeare’s feminist outlook does not remain confined only to the unmasking of malebiases encoded with the patriarchal structure of society and to the creation of male and female characters with feminist bearings, rather it extends to the projection of vulnerability of patriarchy. Though Shakespeare’s problem plays present patriarchal society, they do not glorify it. These plays show the vulnerability of the patriarchal principles of society. It is known that ⎯ The general structure of the Elizabethan society was patriarchal and the Renaissance moralist considered the duty to respect, obey and honour one's father comparable to the duty to obey one's king. To respect the parents was not only one of the Ten Commandments but it was one of the first laws of nature also. Even if the parents were mean and cruel the children were required to obey and respect them (Trivedi 14). Hector, in Troilus, goes against the above mentioned ideals of society. When Priam forbids him from going to the war he disobeys him in the following words: Let me not shame respect, but give me leave To take that course by your consent and voice Which you do here forbid me, royal Priam. (V.iii. 71-75) Through this disobeying of Priam's order by his son, Hector, Shakespeare seems to mock at the patriarchal principles of his society. Shakespeare's presentation of Bertram as "an inveterate liar” (Bradbrook 16) shows his feminist frame of mind. Actually "the Elizabethan code of honour supposed a gentleman to be absolutely incapable of a lie. To give the lie was the deadliest of insults, not to be wiped out but in blood. Honour was irretrievably lost only by lies or cowardice” (Bradbrook 16). By projecting Bertram as a liar, Shakespeare shows him as a dishonourable man. His presentation of Bertram as a disonourable man shows his feminist frame of mind as well as vulnerability of patriarchal ideas of honour. Patriarchy holds men to be brave and bold while women are seen as timid and cowardly. Through Achilles's character Shakespeare attacks this notion also. Shakespeare projects Achilles Killing unarmed Hector in a cowardly manner. Shakespeare has down-played the concept of men's heroism. International Research Journal of Management Sociology & Humanity ( IRJMSH ) www.irjmsh.com Page 326 IRJMSH Vol 10 Issue 6 [Year 2019] ISSN 2277 – 9809 (0nline) 2348–9359 (Print) The masculinity has been shown as vulnerable through the character of Troilus. The feminine traits ⎯ such as emotion, irrationality and romanticism, ⎯ which are generally associated with the female sex are found in Troilus's personality. Here Shakespeare seems to suggest that there is no natural relation between sex and sex-roles. Sex role is something socially constructed. One is either male or female but not man or woman. To be a man i.e. to have masculine qualities is not a matter of sex but of socialization. Through Troilus Shakespeare seems to say that nothing is entirely either manly or womanly. George Bernard Shaw seems right in maintaining that a man is simply a woman without petticoats, (Ruthven 11) when seen against the character of Troilus. By presenting Achilles, in Troilus and Cressida, as a jealous man Shakespeare seems to show his disagreement with the popular patriarchal belief of his time according to which "jealousy . . . was a weakness to which women . . . were considered especially vulnerable." (Rackin 115). It is Shakespeare's feminist spirit which prompts him to portray a man, instead of a woman under the influence of jealousy. Though during Shakespeare’s time women were considered more lustful than men, Shakespeare, through the plays under discussion, projects men such as Angelo, Claudio, Lucio, Bertram, Troilus, and Achilles as much more lustful than any woman. Thus we find Shakespeare exposing the licentious and lustful character of men in patriarchy. The general patriarchal belief that men are independent and women are dependent has been ridiculed by Shakespeare. Through the panic, rage and hysteria generated in Troilus at Cressida’s infidelity Shakespeare shows the parasitism of males on females. The projection of men as dependent on women shows Shakespeare’s feminist spirit. It is through the feminist separatism that Shakespeare shows how men are dependent on women. In patriarchy men are believed to be brave and bold while women are seen as timid and cowardly. Through Achilles's character Shakespeare attacks this belief. Achilles Kills unarmed Hector in a cowardly manner. Shakespeare has down-played the concept of men's heroism. In the light of above discussion Shakespeare stands exposing rather than reinforcing the "patrilineal structures of Power” (Malcolmson 110). He seems to maintain that women are biologically different from men but this does not make men superior to women. It is the process of socialization encoded with sexual politics of patriarchy which coax women into believing that they are secondary to men. Shakespeare's concern for women makes him a playwright with feminist bearing. Since Shakespeare has been identified as "the greatest celebrant of heterosexual love," (Wells 68) this paper finds him a heterosexual feminist. The View of Margaretta Jolly appears quite pertinent in Shakespeare’s context. International Research Journal of Management Sociology & Humanity ( IRJMSH ) www.irjmsh.com Page 327