Analyzing The Feminine Agenda In Takes on English Literature Essay

In the three dramas, Oedipus Rex, Fatality of a Salesman, and Macbeth the feminine characters create their own personal agendas into the lives of the tragic heroes. Jocasta, Linda, and Girl Macbeth are all similar in their powerful nature, ability to allow, and their need to care for others. The exploration of these similarities can even be considered the driving a car force which causes each of the tragic heroes with their ultimate fates.

This woman uses female methods of acquiring vitality- that is, manipulation- to further her supposed male ambition. The impressive effectiveness of Female Macbeth's manipulation is visible in several ways. She overrides most of his objections to the storyline she construes. When Macbeth hesitates in murdering Duncan, Female Macbeth persistently taunts his lack manhood and courage until he feels it essential to prove himself. Interestingly, Sweetheart Macbeth and her man are presented to be deeply in love. However, many of Lady Macbeth's speeches imply her control over Macbeth is merely sexual. Sweetheart Macbeth's strong will persists throughout the murder of the ruler. Later, however, she starts a slow slide into madness. Equally ambition influences her way more before the offense, so does indeed the guilt after. She falls sufferer to guilt and madness to a greater extent than her spouse. The play means that women is often as ambitious and cruel as men, but public constraints deny them the opportunities to go after the ambition on their own.

By the close of the play, Sweetheart Macbeth has been reduced to sleepwalking and attempting to remove unseen bloodstains. Once the plague of guilt has finally done its worse, Sweetheart Macbeth's sensitivity becomes her weakness. Eventually, her husband's cruelty and her own guilt recoil on her behalf, sending her into a madness which she is unable to handle. In the end, she drives herself mad because of her guilt above the murders and she apparently eliminates herself.

Linda Loman is Willy's connect to reality. She assists as a make of reason throughout the play. Linda is by way the toughest, most genuine, and most levelheaded character in the play. She perceives what her man is going through. Despite all of his failures and weaknesses, she helps him, enjoys him, and sometimes enables his tendencies. Linda realizes that Willy is just a typical man living in the days, but she does not place blame on him. If anything, she adores him more because of it. Linda assumes the role of the protector, the defender, and the respecter. She helps to protect Willy when Biff fights with him. Linda defends Willy to her sons who believe he is heading crazy. Also, she respects him enough to pretend that she is unaware of the actual fact that he is trying to kill himself and that he has lost his salary. She knows that Willy is suicidal, irrational, and difficult to deal with; however, she should go along with Willy's fantasies in order to safeguard him from the criticism of others, as well as his own self-criticism. Linda will try to safeguard him, but her attempts are in vain.

Linda allows Willy in lots of ways, but she also promotes him. She delicately nudges him as it pertains to paying the bills and connecting with Biff and she does not lose her temper when he becomes irate. Linda understands that Willy is secretly borrowing money from Charley to pay the life insurance and other bills. Despite all this, Linda does nothing, afraid to aggravate Willy's delicate mental condition. She goes as far as throwing Biff and Happy out of our home when their action threatens to annoyed Willy.

Linda views flexibility as a getaway from debt, the praise of total possession of the material goods that symbolize success and stableness. Willy's prolonged obsession with the American dream seems, above the long many years of his matrimony, to have gone Linda internally conflicted. She appears to have kept her mental life intact. Therefore, she represents the emotional central of the crisis. Linda is a identity powered by desperation and dread. Despite the fact that Willy is often rude to her, she defends him no matter what. Relating to Linda, Willy is "a little boat looking for a harbor" (___________). She adores Willy, and moreover, she accepts most of his shortcomings.

Jocasta's character is only strongly represented in the final moments in the play. Throughout the play, Jocasta analyzed the beliefs of these around her by feigning disbelief in the gods herself. Though she set up this false front side, she did keep her beliefs. At the beginning of the landscape wherein a messenger relayed phrase of Polybus' fatality and Oedipus' to the throne of Corinth, we see Jocasta praying. In her first words, she attempts to make calmness between Oedipus and Creon, pleading with Oedipus not Tiresias's terrifying prophecies as false. Unlike Oedipus, Jocasta distrusts the oracles and feels that whatever happens can do so by unforeseeable chance. However, she actually is still wary enough to honor Apollo with offerings in an emergency. Jocasta holds garlands and incense to the altar and will try to appeal to Apollo to purify the location of Thebes. Jocasta solves the riddle of Oedipus's personality before Oedipus does indeed, and she expresses her love on her behalf son and hubby in her desire to protect him from this knowledge. She pleads with him to avoid asking questions about the circumstances.

Jocasta's persona is sensible and capable, but not motivated to exploration as Oedipus. She bears her own agenda in what should be known and investigated. Jocasta's character is used by the gods, in ways, to check Oedipus's beliefs. After accusing Creon of conspiracy and treason, Oedipus relates to Jocasta the details of his meeting with Tiresias. Jocasta proceeds to place questions of the gods by sharing with Oedipus the storyplot of the Delphian Oracle and the circumstances bordering Laius' loss of life. Again, after Polybus' fatality, she excitedly says Oedipus that his prophecy was naturally untrue, though it was not, and by doing so she makes an attempt to hint that the oracles - and so the gods - are fake.

It can be drawn that Jocasta is forced to execute such responsibilities for the gods because she tried out to avoid an earlier prophecy. By tying her child's feet collectively and casting him out, she attempted to defeat the gods, which disbelief of course angered them. Her abuse, then, was to check the beliefs of the extremely child she cast out.

Jocasta was, in this way, a victim. Though it was by her own doing that this penalty was cast after her, it had not been something she was pleased to do, which becomes apparent when she realizes the reality in her preceding prophecy. It really is at this moment that she becomes alert to her punishment, and in desperation eliminates herself. Following the realization of the truth, Jocasta's own panicked grief impels her to suicide.

Jocasta is a victim in Oedipus Rex, however, not as much as she actually is a catalyst for Oedipus' own victimization. She continues her faith throughout and will try to alleviate Oedipus of his. As a result of this, readers may in turn pity her and loathe her. But the gods examined the king of Thebes through her - the key goal of the play - and both he and she failed.

In the exploration of Oedipus Rex, Loss of life of the Salesman, and Macbeth the feminine characters clear self-interest takes on an important role in their counter parts downfalls. Jocasta, Linda, and Sweetheart Macbeth are all similar in their strong nature, ability to allow, and their need to care for others. The previous exploration illustrates the female agenda in contrast to the tragic heroes.

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