Women In Shakespeare S Plays Quotes

[Talking about ancient Greece](...) the great institutions (...) were created by older males who then trained younger males. They all had a strong homoerotic element. (...) This thereby increased the rightness of masculinity, never mind that half the world was feminine. That other half was also interested in philosophy, the arts, the law, religion, and athletics, but they had this other task -bringing children to term and nurturing them through the early years of their lives. And doing it again and again. Not that this gave status to women. On the contrary, the man's seed made the child. A woman was simply the receptacle provided by nature to carry the child until it was ready to come out. (...)

~ Tina Packer

[Talking about Othello] His dying words are about the service he has done to the state -not what he has done to Desdemona. (...) He acknowledges not love but the power structure (...). Othello believes his fellow officer [Iago] rather than his wife, believes death is suitable punishment for infidelity (...).It makes me uneasy that we so easily state that Othello is a play about race. Race is one of its ingredients, but the most pervasive subject that Shakespeare is tackling is sexism. The two women [Desdemona and Emilia, Iago's wife] end up dead. Bianca, the third woman in the play, Cassio's mistress, ends up in jail for something she never did, and nobody bothers to get her out. Iago, the symbol of evil, remains alive. Brabantio, Desdemona's father, dies of a broken heart because of his daughter's disobedience. And everyone is very regretful about what has happened. But no one, other than Emilia, has pointed out that there is a terrible double standard, something rotten in the system itself.

~ Tina Packer

[Shakespeare realized that] Women are able to understand themselves better on a personal level and survive in the world if they dress in men's clothing, thus living underground, safe (...). The presence of women disguising themselves as men dictates that the play be a comedy; women remaining in their frocks, a tragedy. In four great tragedies -Julius Caesar, Hamlet, Othello, and King Lear- almost all the women die (...). How much the women have to adhere to the rules and regulations of their enviroment makes a large difference. Once Rosalind [disguised as a man in As You Like It] has run away from the court, she has no institutional structures to deal with. Ophelia [in her frocks] is surrounded tightly by institutional structures of family, court, and politics; only by going mad can be get out of it all.

~ Tina Packer

He [Hamlet] sees ghosts and listens to dreams. And when his ghost father tells him that he (Hamlet Senior) was killed by his brother and asks Hamlet Junior to avenge his death, in the right, honorable way, Hamlet says yes, yes, yes, he'll do it. But somehow he never gets round to it. Not like the other two young men in the play. The Norwegian Prince Fortinbras(...) has made his life [!!] pursuing the honor that his father lost when Hamlet Senior beat him in single combat. (...). When the lord chamberlain,Polonius, is killed, his son, Laertes, returns to the court immediately, demanding restitution, (...). So there is no shortage of examples of how young men are expected to and do act in this world where honor demands an eye for an eye, a tooth for a tooth, a life for a life. But Hamlet doesn't do it. Instead, he beats up on his girlfriend and he's cruel to his mother.

~ Tina Packer

If we divide human attributes into masculine and feminine and strengthen only those attributes that belong to that sex, we cut off half of ourselves from ourselves as human beings, condemned forever to search for our other half. The world is in desperate need of multilayered human beings with the voices, stamina, and insight to break through our current calcified ways of doing things, (...) The patriarchal structures of honor, shame, violence, and might is right, do as much harm to Hamlet, Edgar, Lear, and Coriolanus as they do to Ophelia, Desdemona, Lady Macduff (...)(...) To have feelings, intuitive flights of understanding, a desire to have knowledge of what is happening below the surface, to serve. These are often called feminine attributes, and it is true that many women in the plays possess them. But they also belong to Kent, Ferdinand, Florizel, Camillo, as well as the women. So they are not feminine attributes: they are human attributes.

~ Tina Packer