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Sometime scholar, and mother of one, in Sydney. Also writes for Eastside Radio. My own blog is Unemployed academic: will teach for food.

19 Responses

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  1. Thacky
    Thacky at |

    Orlando, thanks so much for this – I googled this exact question last week after seeing the latest Bell production of MacBeth (which wouldn’t pass, I don’t think) so this was very satisfying!

  2. Eden
    Eden at |

    Nice post. Just out of curiosity, what’s your favourite Shakespeare monologue by a female character (that isn’t in Taming of the Shrew)? I’m looking for a decent monologue and it seems like the dudes get all the best lines :( I can’t imagine being a female actor in current theatre/ Hollywood. That would suck. Massively.

    In addition, one of the scenarios he returns to most often is of women supporting each other, even in the ranks of death, which belongs to that quirky category of things that happen all the time in life, but hardly ever in the movies.

    This! My favourite thing to see represented in any play or movie is female friendship. Sisterhood is awesome.

  3. orlando
    orlando at |

    Eden, if you enjoy hearing about female friendship you should love this speech from A Midsummer Night’s Dream, where Titania explains to Oberon that she won’t give him the little human boy he wants, because of her friendship with his mother. It brings tears to my eyes, especially since I was pregnant and understood how much it does feel like being a galleon in full sail:

    Set your heart at rest;
    The fairy land buys not the child of me.
    His mother was a vot’ress of my order;
    And, in the spiced Indian air, by night,
    Full often hath she gossip’d by my side;
    And sat with me on Neptune’s yellow sands,
    Marking th’ embarked traders on the flood;
    When we have laugh’d to see the sails conceive,
    And grow big-bellied with the wanton wind;
    Which she, with pretty and with swimming gait
    Following- her womb then rich with my young squire-
    Would imitate, and sail upon the land,
    To fetch me trifles, and return again,
    As from a voyage, rich with merchandise.
    But she, being mortal, of that boy did die;
    And for her sake do I rear up her boy;
    And for her sake I will not part with him.

    Thacky, I think Macbeth passes because the witches talk to one another about what they’ve been up to since they last met.

  4. kvd
    kvd at |

    Thacky my daughter’s review of Macbeth by Bell was “only one witch, and no forrest”. Still, she did enjoy it recently in Canberra – having studied it for her HSC years ago.

    But I want to put a hand up for poor old Shksp, given the times he was writing in, and the “good” he did in illustrating topics which continue in discussion to this day. He may have failed fem 101, but I’m thinking that the ‘steel’ (and the joy) in his plays is many times provided through the voice or actions of his female characters, and that, overall, he provided – what is that phrase I’m searching for? – “a mixed bag of uppity women” for us to continue to argue about.

  5. Hedgepig
    Hedgepig at |

    “does better than most, but not as well as we would like”

    Joss Whedon indeed!

  6. Eden
    Eden at |

    Thanks orlando- I had forgotten about that one. Love it :)

  7. M-H
    M-H at |

    Eden, “The quality of mercy” speech (spoken by Portia in the Merchant of Venice) would be one of the most powerful and most-quoted monologues in English literature. It isn’t about men; it’s a philosophical treatise and there are many people in the media today who should be forced to write an essay on it! I learned it off at school, and it still reverberates in my brain.

    The quality of mercy is not strained.
    It droppeth as the gentle rain from heaven
    Upon the place beneath. It is twice blest:
    It blesseth him that gives and him that takes.
    Tis mightiest in the mightiest; it becomes
    The throned monarch better than his crown.
    His scepter shows the force of temporal power,
    The attribute to awe and majesty,
    Wherein doth sit the dread and fear of kings.
    But mercy is above this sceptered sway;
    It is enthroned in the hearts of kings;
    It is an attribute of God himself;
    And earthly power doth then show like God’s
    When mercy seasons justice.

  8. Tamsin
    Tamsin at |

    There’s this collection of monologues spoken by women in Shakespeare’s plays… I’m not especially familiar with many of the plays, but I like Emilia’s speech from Othello, which reads (to me) like a women’s version of Shylock’s “Hath not a Jew eyes?” speech, except without all the stuff about revenge.

  9. TansyRR
    TansyRR at |

    Much Ado has some of my favourite Shakespearian women in it, but I think As You Like It is one notable for the depiction of the relationship between Rosalind and Celia (sisters or cousins? Can’t remember) as well as having other named female characters.

    What I am taking from this article is that on the whole Shakespeare was better at representation of women as interesting members of the human race than most modern Hollywood movies. That’s kinda depressing.

  10. tigtog
    tigtog at |

    TansyRR, it’s sadly all too probable that the fact that Shakespeare wrote those parts to be played by male actors had an influence both on how willing he was to write their characters as complex and how willing the audience was to listen to them emote.

  11. tigtog
    tigtog at |

    P.S. Just had a realisation: when taking a long term view as part of Elizabethan theatre management, the youngsters in one’s troupe need training so that they can play the great big huge roles when they’re older, so giving them at least a few interesting things to say when they’re playing one’s ingenues is simply an obvious part of the apprenticeship program.

  12. Nicola
    Nicola at |

    Favourite monologue by a Shakespearean female character: definitely Titanias’s rant in “A Midsummer Night’s Dream” when Oberon tries to take away the little Indian boy. It starts:

    “These are the forgeries of jealousy.”

    The speech before it is great, too; Oberon says “Am I not thy lord?” and she hits back with:
    “Then I must be thy lady, but I know,
    When thou has stol’n away from fairy land
    And in the shape of Corin sat all day
    Playing on pipes of corn and versing love
    To amorous Phillida. Why art thou here,
    Come from the farthest steep of India,
    But that, forsooth, the bouncing Amazon,
    Your buskin’d mistress and your warrior love,
    to Theseus must be wedded?”

  13. orlando
    orlando at |

    Tigtog, I think it would be a shame to believe what you suggest, given that we have no evidence that Shakespeare was thinking that way. If we are going to speculate, it’s just as likely that he wrote such complex female characters because he had so many women close to him to observe. The later plays, for example, show a lot of fathers learning to appreciate hyper-intelligent, recently grown-up daughters.

    The apprentice system almost certainly had an influence on most of the plays having 3 – 5 women, instead of one. Performance, for them, was training, exactly as you describe. Say you have six apprentice boy actors in your troupe, you give your two most experienced big roles, throw in two or three of the “one-scene wonders” I mentioned. Maybe give one a walk-on with a bit of a song, and roster one off to patch costumes and learn his lines for the next thing.

    What we can tell for certain from the plays is that Shakespeare’s company had two boys, one short and dark, the other tall and fair, who together made a stonkingly brilliant comic double act (Hermia/Helena, Hero/Beatrice, Adriana/Luciana, Celia/Rosalind, Rosalind/the Princess of France).

    Thanks M-H, Tamsin and Nicola, it’s fun to have a game of favourite speeches going on. I have so many it’s hard to narrow it to a reasonable list, but I’d love to keep the floor open for more submissions!

  14. tigtog
    tigtog at |

    orlando, you’re quite right that I’m in pure speculation territory. Besides, even if the number of complex speeches for the younger female characters may have been in part governed by apprentice-training, at least Shakespeare wrote them with a sense of appreciation of actual women rather than only as abstract feminine archetypes.

  15. Mindy
    Mindy at |

    TT and Orlando – do you think that the immediacy of the audience could have had something to do with that? I’m guessing that in the Globe theatre at least the people in the flea pit would have been pretty much standing around the stage (?) and so if the female characters hadn’t rung true then the crowd could have made its displeasure known?

  16. Justin S
    Justin S at |

    I found this post by googling for Shakespeare and the Bechdel test (a friend texted me wondering if someone had checked), and just off the top of my head you’re missing at least one play. Henry V has the English lesson between Katherine and her Gentlewoman, and while the dramatis personae does not name her, her speech header is definitely “Alice” in the Folio.

    And this is even more of a technicality, but if the line “Look to the baked meats, good Angelica” is directed to the Nurse in R&J, then we’d have to take another look at her dialogue with Juliet and Lady Capulet.

    Of course, neither of those editorial issues are relevant if we use the original version of the Bechdel test, which doesn’t require names.

  17. orlando
    orlando at |

    Justin, I don’t see why that means I missed it. Princess Katherine and her Gentlewoman, Alice, have a conversation that isn’t about a man. That’s a pass.

    Juliet and her mother have two conversations, pretty much entirely about men. I think the idea of a ‘named’ character is to eliminate one-liners like ‘woman at counter’ or ‘second waitress’ from the test. A character like the Nurse, whether or not she is given a Christian name, is very much a full and involved person in the story. But as I mentioned, quite a few of the plays collapse over the third rule, and we would have to go through them all in much more detail to decide on which side each one falls.

  18. Gaby Malcolm
    Gaby Malcolm at |

    Great post – I found this following The Shakespeare Forum’s link on Facebook.
    I think that some of the comments are also very interesting – it provokes alot of debate. The prominence allowed to women (despite played by boy actors and older male performers) does much to show Shakespeare’s belief in the female perspective and psyche. Female characters, as mentioned above, have been the vehicles for some of the most important and stirring speeches.

    thanks alot – I shall look forward to more.

  19. orlando
    orlando at |

    Working on a production of Tempest at present, and it has caused me to decide I was being too harsh in excluding the masque from the test. It shows spirits impersonating the goddesses Juno, Ceres and Iris talking together about having come to bless Miranda and Ferdinand’s wedding, which is pretty gyno-centric stuff. So if we also give him his Timon technicality, I am upgrading Shakespeare to all plays pass 1, all but three pass 2, and most pass 3 as well, but someone with more energy than me will have to make a call on exact numbers. I’m sure he’ll be very pleased.

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