The Winter’s Tale explores the idea of how misogynistic behavior is normalized within society, and how men’s socialization to mistreatment women can often lead to unnecessary turmoil. Women have often been characterized in movies and in literature as emotional, highly combative, and manipulative. However, The Winter’s Tale lifts the veil on these misogynistic stereotypes by revealing how men are the ones who are generally encouraged to exhibit this type of behavior. Hermoine is forced to navigate around the aggressive actions of her male counterparts, and Leontes still cannot trust her even though she abides by the patriarchal standards in her society. She speaks when she is asked to, she obeys all of her husband’s requested actions, and pleasantly entertains his friends. Leontes’s mistreatment of Hermoine is prevalent at the very beginning, he even states, “Tongue-tied, our queen? Speak you” (1.2.28). He is implying that she talks too much and that he should be in control of when she speaks. He even declares, “speak you,” as if he is giving her an order (1.2.28). He also seems to be arguing that she is not a good speaker, which is clearly not true, since she proves herself to be a very eloquent and articulate speaker throughout the play. Women are often forced to manage the sexist feelings of the men around them, and that behavior often upholds the patriarchy itself. In many ways Hermoine seems to be the perfect wife, since she abides by her husband’s wishes and entertains his friends, even in the burdening state of pregnancy. All of her efforts to please her husband are futile, and the play reveals how misogynistic values are so ingrained into men that even if the perfect wife cannot prevent men from mischaracterizing women. Leontes’s misogyny is clearly revealed when he states, “And his pond fish’d by his next neighbour, by Sir Smile, his neighbour” (1.2.193). Leontes’s is making derogatory statements about his wife, and he is dehumanizing her by imagining her to be an inanimate object that exists only for men. Even in our society today the violent language that men have used against women has been labeled as “locker-room talk,” when in actuality those are male spaces that advocate and normalize violent misogyny. Leontes has been socialized into society to be a misogynist, which becomes clear when he makes wide generalizations about the behavior of women. He states, “And many a man there is, even at this present, / Now while I speak this, holds his wife by the arm, / That little thinks she has been sluiced in’s absence…Whiles other men have gates and those gates open’d, / As mine, against their will” (1.2.191-97). It seems outrageous to assume that Leontes imagined up these generalizations of women, and I think it could be argued that Leontes’s ideas about women have been ingrained in him for his whole life. He does not trust his wife, and that is  because he lives in a society where men are encouraged to doubt and mistreat women. Leontes feels confident in boldly stating that his wife is promiscuous, and his ingrained values help him to solidify his accusations against his wife. Leontes’s behavior makes me think of Emilia’s speech, where she analyzes and critiques the intricacies of the patriarchal society she lives in. She states, “But I do think it is their husbands’ faults / If wives do fall. Say that they slack their duties, / And pour our treasures into foreign laps; / Or else break out in peevish jealousies, / Throwing restraint upon us. Or say they strike us, / Or scant our former having in despite” (4.3.81-86). Emilia notes that women are not prone to infidelity, and that the isolated instances of infidelity are often due to the fact that women are forced to escape the violent constraints of men. Emilia’s speech, and Leontes’s actions, prove how society socializes people to think about women a certain way. The perpetuation of violent misogyny is due to the fact that men, and sometimes even women, do not question the societal understandings of women. The lack of interrogation into generally accepted ideas about people often leads to oppression, violent mistreatment, and outright turmoil. The Winter’s Tale proves to audiences that they must always question their standard beliefs about people, and  to also reconsider how those assumptions can cause actual harm to people in society.

After reading Julius Caesar I have been wondering if it is actually possible for a government to be uncorrupt and work seamlessly in a system of checks and balances. The play reveals how there will always be people who seek power, and there will always be impressionable masses who will glorify and praise those who seek power. Caesar even notes at the beginning of the play, “Let me have men about me that are fat/ Sleek-headed men, and such as sleep a-nights./ Yond Cassius has a lean and hungry look./ He thinks too much; such men are dangerous” (1.2.192-195). Caesar acknowledges that in order for him to continue to maintain power he needs people around him that are not smart enough to question his everyday actions. I also think it is interesting that he uses the word “dangerous,” and I think he uses this word to suggest that a man like Cassius could be capable of taking power from him. I think the way the Roman government works, and the way that our government works today, is a male-centric system of men continuously needing to assert and prove their power. Cassius even attempts to assert his masculinity over Caesar at the beginning of the play by telling a story about how Caesar could not swim across the river. Cassius states that Caesar cried how to him “Dar’st thou, Cassius, now/ Leap in with me into this angry flood/ And swim to yonder point?” (1.2.103-105). All of these assertions of masculinity and power make me question whether or not any of these men are concerned about Rome, or if they are just concerned about asserting their own masculine power over one another. It is horrifying to see how men will put the assertion of their own egos above what is best for the people in their society.

Additionally, I think it easy to assume that the emergence of technology within our generation has caused the masses to view political figures as celebrities. However, Julius Caesar reveals to us that people have always treated political figures this way. The people of Rome treat Caesar as if he is a celebrity, and they absent-mindedly praise him without really considering the kind of leader he might be. At the beginning of the play we see common people praising him, the Cobbler even states, “we make holiday to see Caesar and to rejoice in his triumph” (1.1.29-30) The people have a different perception of Caesar than the Senate does, and this may be because Caesar does a careful job of controlling the people’s perception of him. For example, Casca notes Caesar’s behavior when he is around the people, stating, “And then he offered it the third time; he put it the third time by, and still as he refused it the rabblement hooted and clapped their chopped hands” (1.2.240-243). Caesar behaves humbly around the people and is aware of how to please them. If Caesar is able to control how the people think of him, then it is possible that the people are incapable of ever truly knowing Caesar. The people are clearly incapable of truly assessing the type of person their leader is, so the Senate decides to take matters into their own hands. However, it is undemocratic for political figures to take away power from the people by trying to change how their government works. So, how can a population truly decide who their leader should be? The play reveals to us how all of the participating members of this society are only interested in their own best interest. The people absorb themselves into Caesar because they admire the power he possesses, and the people that work for Caesar wish to attain the power that he has. It seems to be a harmful cycle that ultimately benefits nobody, which forces us to consider whether or not it would be better to embrace a different form of government.

Throughout my reading of Richard III I have been surprised by the play’s similarity to the Netflix show House of Cards, which chronicles the manipulative and vicious actions of the power-hungry politician Frank Underwood. Both the show and the play include the main character breaking the fourth wall, and they both seem to demonstrate the flawed intricacies of the political systems that continue to exist even today. The show, and this play, force us to question the intentions of those who seek power and how their power affects the people around them. The play highlights many of the political issues that exist in our world today, especially how people maintain power through fear. Richard continues to obtain power by forcing fear into the hearts of those around him. Lady Anne submits to Richard’s advances because of fear, but it is not just those within his inner circle that experience fear. The common citizens are aware of the the problems that exist within their government, and they are fearful of those in command. For example, after the King Edward is announced dead, one citizen states, “Bad news, by’r Lady; seldom comes the better. / I fear, I fear, ‘twill prove a troublous world” (2.3.4-5). I think that it is very important that Shakespeare includes the perspective of those outside the royal family, since these are the people who will truly be affected by Richard’s malicious regime. The moment also demonstrates how citizens are more aware than we may realize, and they are capable of recognizing and critiquing their own government.

The power that Richard continues to gain throughout the play causes fear within the people around him, and it even silences them. The Scrivener states, “Here’s a good world the while! Why, who’s so gross / That sees not this palpable device? / Yet who’s so bold but says he sees it not? / Bad is the world, and all will come to naught / When such bad dealing must be seen in thought” (3.6.10-14). He notes how everyone must be aware of all of the evil actions that Richard is committing, but everyone is so afraid of him that they choose to remain silent. The inability of people to speak out against violence because of fear is something that is relevant in our political system today. Even in our society people are able to identify and acknowledge the malicious actions of those in power, but oftentimes the power that those officials have causes people to remain silent out of fear. Richard III may appear to just be a dramatic play about a manipulative man, but it actually contains events and sentiments about fear and power that are still being exposed in our society today.

People in power may have the ability to invoke fear in others, but as the play progresses we begin to see that the power is actually in the hands of the people. Buckingham announces to the citizens that Richard is king, and they do not respond how Richard hopes they would. Buckingham notes, “But like dumb statues or breathing stones / Gazed each on other and looked deadly pale, / Which when I saw, I reprehended them” (3.7.20-24). The citizens of England are the ones who have the ability to resist Richard’s developing power, and they resist by refusing to idly praise and accept the new king. I am not sure what will happen as the play progresses, but I really appreciate the role that the citizens have in questioning and resisting those in power. Our political atmosphere today still contains political figures who are stripping people of their rights as well as abusing power, and the hope of many is that the power of the people will impede and prevent the violent actions of those in power. The people in our society have been able to resist and question those in power, and I hope as the play continues that the citizens of England will continue to be an integral part of Richard’s downfall.

I understand why a character like Iago would be so unlikeable, and his destructive actions throughout the play definitely prove that he is a cruel individual. However, there seems to be sufficient amount of evidence throughout the play that proves that Iago does have a reason behind his actions. When I first read this play a few years ago I was convinced that Iago was a motiveless character who thrived off of the chaos and misery of others. But after thoroughly re-reading this play, I think that there is evidence to prove that Iago’s maliciousness is due to his internal conflict about his sexuality. Early on Iago expresses that he does not want anyone to know who he truly is, he states, “But I will wear my heart upon my sleeve / For daws to peck at. I am not what I am” (1.1.61-71). He indicates that if he wore his heart on his sleeve then people would “pick” at him, which may indicate that there is a part of his identity he may be ashamed about. Also, for him to say that he is not what what people think he is reveals that people are not aware of his true identity. Iago also shares a lot of intimate moments with Othello, and it is clear that Iago deeply understands Othello, since he is able to manipulate him by understanding Othello’s strengths and weaknesses. It is not rare for men to share a bond like this, but the other factor causing me to question his sexuality is his constant criticism of women. For example, at one point Iago states, “Come on! Come on! You are pictures out of door, / Bells in your parlors, wildcats in your kitchens, / Saints in your injuries, devils being offended, / Players in your housewifery, and housewives in your bed” (2.1.108-111). He seems to think that all women are the same, and he suggests that even though women look presentable in public, it does not mean that they are good people or that they are satisfying in bed. Iago’s statement seems to reveal that he does not have strong sexual feelings towards women, while he is more than willing to spend an exorbitant amount of time with Othello.

Iago also seems to use the lie about Desdemona being unfaithful in order to spend more intimate time with Othello. Iago subtly suggesting to Othello that Desdemona may be cheating, and Othello states that Iago has to tell him the truth otherwise he is not a good friend. Iago responds to this, stating, “My lord, you know I love you” (3.3.116). He may be continuing his manipulation, but he could also be using the situation to interject his feelings about Othello without repercussion. Iago’s lust for Othello may be causing him to destroy Othello’s love life, in the sense that if Iago cannot have Othello, then no one can. Iago does not ever give one clear answer as to why he is manipulating Othello, in fact, he continually changes his reason for torturing Othello. At first he states that his reason is because Othello did not choose him for the lieutenant position, he states, “I know my price, I am worth no worse a place” (1.1.10). However, a few scenes later he states that he is being malicious because he thinks Othello has been having an affair with his wife, he states, “For that I do suspect the lusty Moor / Hath leaped into my seat” (2.3.279-80). He seems to change his mind a lot about why he hates Othello, which exposes that both of these reasons probably have nothing to do with Iago’s actions towards Othello. Perhaps Iago realized that not getting the lieutenant position would mean that he would have to spend less time with Othello, and that Cassio would be the one who would get alone time with Othello. Cassio’s ability to spend time with Othello would explain why Iago took vindictive actions towards both Othello and Cassio. Iago’s negative feelings about his sexuality are not an excuse for his cruel actions, but it does provide us with some understanding of Iago’s character and why he is so cruel to others. Ultimately Iago may just be a character who does not know how cope with his feelings towards men, and he creates destruction in other people’s lives instead of taking the time to try and understand his sexuality.

Disguises are a prevalent theme within Twelfth Night, and the play reveals how disguises can exist beyond just physical appearances. Viola disguises her physical appearance in order to convince everyone that she is a man, while Maria and Feste use written and spoken language to deceive Malvolio. People can convince or deceive in many forms, and the play makes us question the purpose of disguises and how disguises can distort our own perception of the world. Olivia and Feste share a conversation that highlights the layers of deception within the play. Feste states, “A sentence is but / a chev’rel glove to a good wit. How quickly the wrong side / may be turned outward” (3.1.10-12). Language can be deceptive, since words are capable of having more than one meaning. Words can also be shifted and manipulated in order to convey different meanings. People are also able to shift and manipulate their own outward appearances, and they can change just as easily as language can. For example, Viola is able to change people’s understanding of her just by changing her clothes. Orsino immediately believes that she is a boy and states, “For they shall yet belie thy happy years / That say thou art a man. Diana’s lip / Is ot more smooth and rubious” (1.429-31). Orsino believes that Viola is feminine man, but a man nonetheless. The play teaches audiences that people are capable of embodying new identities just through their clothing. Feste also reveals how clothing helps people to embody other identities. Feste disguises himself as the priest Sir Topas in order to visit Malvolio while he is trapped in the dark room. Malvolio cannot see Feste, so there is no real reason for Feste to dress up as Sir Topas. Feste even states, “Well, I’ll put it on, and I will dissemble myself in’t” (4.2.4). Feste dresses in the garments of a priest in order to fully embody the character of Sir Topas, and he also disguises his voice to further deceive Malvolio. Feste reveals how disguises are not just used to deceive others, but also to deceive oneself. Feste truly wants to believe that he is this character, so he dresses as Sir Topas to the fullest extent in order to convince himself that he truly is Sir Topas. Finally, Maria copies Olivia’s handwriting in order to convince Malvolio that Olivia is in love with him. She states, “I can write very like my lady, your niece. On a forgotten matter we can hardly make distinction of our hands” (2.4.47-48). Maria is disguising herself as Olivia through the use of written language, which conveys that there is not one set way to conduct disguises. Twelfth Night reveals how people are able to embody different identities through their voice, clothes, and language. The play also helps us to question whether or not our assumptions of the world are real, or just another illusion. In a way, the disguises in the play are just exaggerated versions of the illusions that appear in our everyday lives. People are always disguising themselves in different ways, and Twelfth Night helps to highlight how we cannot always trust the outward appearances or actions of ourselves and others.

A Midsummer Night’s Dream delves into the intricacies of love by depicting a variety of romantic relationships. The play contains romantic tropes that still exist in the romantic comedy genre today, but the tropes are not portrayed in a conventional way. A Midsummer Night’s Dream reveals how love is not always a rewarding experience, and that love can be painful, complicated, and fickle. In the beginning of the play Lysander and Hermia represent overpowering romantic love, while Helena and Demetrius represent unrequited love. Each relationship explores how romance and love impact our experience in the world. Shakespeare does not try to depict love as beautiful and all-fulfilling, and instead reveals how love often consists of hardships and turmoil. For example, Helena’s unrequited love for Demetrius makes her feel alone, but it also distorts her perception of herself. She states, “Call you me fair? That ‘fair’ again unsay. / Demetrius loves your fair…Were the world mine, Demetrius being bated, / The rest I’d give to be to you translated” (1.1.181-182,190-191). Helena’s love for Demetrius invokes detrimental self loathing, and it makes her truly believe that she should be someone else. Romantic comedies often attempt to depict the power of love to overcome all odds, but A Midsummer Night’s Dream reveals how love has the ability to destroy an individual’s self worth. Helena’s self loathing becomes so intense that even when Lysander pronounces his love for her she does not believe him. She states, “Wherefore was I to this keen mockery born? / When at your hands did I deserve this scorn? (2.2.123-124). Helena’s unrequited love with Demetrius distorts her perception of herself so much that she perceives anyone’s affection towards her as a joke. Helena’s experience in the play reveals how love does not always build us up and make us happier, but instead can tear us down and debilitate our ability to form romantic relationships with others.

Lysander and Hermia’s relationship explores the complexities of powerful romantic love, and how that type of relationship can also have its downfalls. Hermia loves Lysander so much that she is willing to leave her home to be with him, but their relationship reveals how even the most powerful and all-consuming love can still be fickle and erratic. In the woods Lysander vows his love to Hermia, stating, “I mean that my heart unto yours is knit,/ So that but one heart we can make of it. / Two bosoms interchainéd with an oath” (2.2.47-49). But a love potion is all it takes for Lysander to abandon Hermia, and even though the love potion is a supernatural element it is still symbolic of the constant change in human emotions. Hormones and human emotions have the power to inflict the same types of feelings as the love potion, and they can work just as quickly. It is heartwarming to believe that love is a consistent feeling of powerful devotion, but Shakespeare depicts how human emotion can be constantly changing. Hermia and Helena’s experience of love are distinctly different, but both of their relationship uncover how love can be painful and emotionally burdening. Ultimately Shakespeare is able to defy the romantic comedy genre by depicting the realistic and troubling intricacies of love.