分类号UDC密级硕士学位论文天使抑或魔鬼——莎士比亚三部戏剧中的女性形象解析AngelsorMonsters_4FeministInterpretationoftheFemaleImagesinThreeShakespeareanDramas作者姓名：姚瑶学科专业：英语语言文学学院(系、所)：外国语言文学指导教师：李滟波教授副指导教师：论文答辩日期2Q12生!!旦答辩委员会主席中南大学2012年11月
ANGELSoRMONSTERS——AFEMINISTINTERPRETATIONoFTHEFEMALEIMAGESINTHREESHAKESPEAREANDRAMASByYaoYaoThesissubmittedtotheGraduateSchoolofCentralSouthUniversityinpartialfulfillmentoftherequirementforthedegreeofMasterofArtsSupervisor：ProfessorLiYanboNovember2012CentralSouthUniversity
原创性声明本人声明，所呈交的学位论文是本人在导师指导下进行的研究工作及取得的研究成果。尽我所知，除了论文中特别加以标注和致谢的地方外，论文中不包含其他人已经发表或撰写过的研究成果，也不包含为获得中南大学或其他单位的学位或证书而使用过的材料。与我共同工作的同志对本研究所作的贡献均已在论文中作了明确的说明。作者签名：刎∈旌日期：乙!兰年立月五日学位论文版权使用授权书本人了解中南大学有关保留、使用学位论文的规定，即：学校有权保留学位论文并根据国家或湖南省有关部门规定送交学位论文，允许学位论文被查阅和借阅；学校可以公布学位论文的全部或部分内容，可以采用复印、缩印或其它手段保存学位论文。同时授权中国科学技术信息研究所将本学位论文收录到《中国学位论文全文数据库》，并通过网络向社会公众提供信息服务。作者签名：剁廷旌导师签名煮!撞型塾日期：乙堕年卫月塑／日
摘要莎士比亚在他的戏剧创作中刻画出了许多丰富多彩的女性形象，其中一些已经成为文学作家笔下反复出现的人物形象。本文运用桑德拉·吉尔伯特和苏珊·古芭关于天使形象与魔鬼形象的理论研究《李尔王》、《哈姆雷特》和《驯悍记》三剧作中较为典型的女性形象。除绪论和结论外，全文分为三章。第一章主要分析《李尔王》中的考狄莉娅、高纳里尔和里根这三个典型的女性形象。考狄莉娅因其宽容、诚实、顺从以及仁爱而被视为天使。然而在其天使的面具之下，她实为父权主义的维护者。高纳里尔和里尔的形象则与考狄莉娅截然不同。高纳里尔不仅被刻画为一个欺骗者、淫妇及对父亲的迫害者，同时也是引诱他人者。但从女权主义视角看来，她却是一位敢于与父权主义争斗的勇士。作为帮凶，里根是一个残忍而又淫荡的欺骗者。但在她恶魔的面具之下，她也是一位女权主义的捍卫者。第二章主要探讨《哈姆雷特》中奥菲莉娅和乔特鲁德两个形象的塑造。奥菲莉娅是一位安静且充满爱的女性，对父兄有着绝对的尊敬与听从。虽然被刻画为天使，她实质上却是男权社会的受害者。另一方面，乔特鲁德则被刻画成一个残忍无情的淫妇，本质上她却是一位好母亲，也是男权社会中的另一受害者。第三章分析《驯悍记》中比恩卡和凯瑟丽娜这两个女性形象。比恩卡是一位温顺美丽的天使，被男人们称为“理想的少女”，但事实上她是一位勇敢又有主见的女性。凯瑟丽娜曾是桀骜不驯且粗鲁的悍妇，但最终被“到llN．”成一位夫权的代言人。
通过对莎士比亚这三部戏剧中几位典型女性之天使或魔鬼形象的具体分析与阐释，本文试图揭示其天使或魔鬼形象之下的真实面目，并探析莎士比亚的女性观，以唤起学界和读者对莎士比亚戏剧中女性形象的更多的关注。关键词：《哈姆雷特》，《驯悍记》，《李尔王》，女性形象，天使，魔鬼
AbstractShakespearehasportrayedmanycolorfulfemaleimagesinhisdramas．ThisthesisappliesSandraGilbertandSusanGubar’theoryofangelandmonstertostudythetypicalfemaleimagesinthreedramas：KingLear，HamletandTheTamingoftheShrew．Apartfromtheintroductionandconclusionparts，thethesisfallsintothreechapters．ThefirstchaptermainlyexploresthethreemainfemalecharactersofKingLear：Cordelia，Goneril，andRegan．Cordeliaisalwaysperceivedasanangelforherlovingimageofleniency,honestyandobedienceinthisplay．Underherangelicmask，however,sheisadefenderofthepatriarchalnotions．GonerilandReganaretotallyontheoppositesideofCordelia．Gonerilisdescribednotonlyasadeceiver,wantonandcrueldaughtertoherfather,butalsoasaseducer．Nevertheless，fromthefeministperspective，sheCanbeseenasawarrioragainstthepatriarchalsociety．Asanaccompliceinthisplay,Reganisacruelandlasciviousdeceiver．Indeed，sheisalsoawarrioragainstthepatriarchalsocietyunderthemaskofmonster．ThesecondchapterisdesignedtoanalyzeOpheliaandGertrudeinHamlet：Opheliaisasilentandlovingfemale，whoabsolutelysubmitsherselftoherfatherandbrother．Thoughportrayedasanangel，sheisatruevictimofthepatriarchalsociety．Ontheotherhand，Gertrudeisportrayedasaruthlessand
viciouswanton．Infact，sheisagoodmotherandanothervictimofthemale-centeredworld．ChapterthreeprobesintoTheTamingoftheShrew．Biancaiscalledthe“idealmaid"forherdocilecharacterandbeautifullooking．SheiSabraveandself-consciouswomanineffect．Katherinawasarudeanddisobedientshrewatthebeginningoftheplay,butsheis‘‘tamed’’tobeagoodrepresentativeoftheauthorityofthehusband．ThroughsuchadetailedanalysisofthetypicalfemaleimagesofangelormonsterinShakespeare’Sthreedramas，thethesisintendstorevealtheirtruefeaturesunderthemasksofangelormonstertoprobeintoShakespeare’SviewonwomenandthenremindtheacademiaandreadersoftheimportanceofpayingmoreattentiontothefemaleimagesinShakespeareandramas．Keywords：KingLear，Hamlet，TheTamingoftheShrew，femaleimage，angel，monster
Contents摘要⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯iAbstract⋯⋯．⋯⋯⋯⋯⋯．⋯⋯．．⋯⋯⋯⋯⋯⋯⋯⋯．．⋯．．⋯．．⋯⋯⋯⋯．．⋯．⋯．iiiContents．．．⋯⋯⋯⋯⋯．．．⋯⋯⋯．．⋯⋯．⋯⋯⋯．⋯．．⋯．．．⋯．．．．．．．．．⋯⋯⋯⋯⋯．．．vIntroduction⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯lChapter1ImagesofAngelandMonsterinKingLear⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯131．1TheImagesofCordelia，GonerilandRegan⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．．141．1．1Cordelia：ALovingAngelofLeniency,HonestyandObedience⋯⋯⋯⋯⋯161．1．2Goneril：ASeductiveandCruelDeceiverandWanton⋯⋯⋯⋯⋯⋯⋯⋯．201．1．3Regan：ACruelandLasciviousDeceiver．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．251．2ReconstructionoftheThreeFemaleImages⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．281．2．1CordeliawithouttheMaskofAngel：ADefenderofthePatriarchalSociety．⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．．281．2．2GonerilundertheMaskofMonster：AWarrioragainstthePatriarchalSociety⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯321．2．3ReganWithouttheMaskofMonster：ADefenderandBravePursuer⋯．．37Chapter2ImagesofAngelandMonsterinHamlet⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯412．1TheImagesofOpheliaandGertrude⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．．422．1．1Ophelia：AsubmissiveandSilentAngelwithLove⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．432．1．2Gertrude：ARuthlessandViciousWanton⋯⋯⋯⋯⋯⋯⋯⋯⋯．⋯⋯⋯⋯⋯⋯．．48V
2．2ReconstructionoftheTwoImages⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．532．2．1OpheliaasaVictimundertheMaskofAngel⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．532．2．2GertrudeundertheMaskofMonster：AGoodMotherandAnotherVictim⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯58Chapter3ImagesofAngelandMonsterinTheTamingoftheShrew．．．．．．．．．．．．．643．1TheImagesofBiancaandKatherina⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯653．1．1Bianca：AnObedient，SilentandBeautifulAngel⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．653．1．2Katherina：ARudeandDisobedientShrew⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．．693．2ReconstructionoftheTwoImages⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．．743．2．1BiancawithouttheMaskofAngel：ACourageousPursuer⋯⋯⋯⋯⋯⋯⋯．753．2．2KatherinaWithouttheMaskofMonster：AnObjectifiedVictim⋯⋯⋯⋯．78Conclusion⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯87Notes⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．．90Bibliography⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．92Acknowledgements攻读学位期间主要研究成果
M．A．ThesisIntroductionWilliamShakespeare(1564-1616)isregardedasoneofthegreatestdramatistsandpoetswithhis37plays，2longpoemsand154sonnets．BorninaChristianfamilyintheEnglishRenaissanceperiod，inevitablyShakespeareisinfluenceddeeplybytheBibleandhisdramashavedeepChristianculturefoundation．Asoneofthesourcesofthewesternculture，theBibleshowsgreatdiscriminationtowardswomen．Accordingtothestatisticresearch，inallthefiguresrecordedintheoldtestamentoftheBible，only120arefemale，amongwhomonlytowkindsofwomencanberecorded：oneisthegoodwomenastheangellikeRuthandtheotheroneisthebadwomendescribedasthemonsterjustasDelilah．AsimilarthinghappensinShakespeareandramas．Hehasgeneratedmorethanonehundredfemalecharactersinhisdramas，whichcanbecategorizedintomainlytwogroupsasangelsormonstersaswellaccordingtothestandardssetintheChristianworld．Astothesefemaleimages，mainlytwoextremelydifferentpositionsareheldintheacademiccircle．Agroupofscholarsinsistthatasahumanist，Shakespearehascreatednumerouswonderfulheroines，whopursuetheirtruelovefreely,andhavetheirfemaleself-consciousness．ThereforeShakespearemightbeviewedasaproto—feminist．Ontheotherside，manyscholars，especiallythefeminists，holdatotallyoppositeview．Intheiropinions，as
M．A．ThesisIntroductionShakespearestilllivesinatypicalpatriarchalsociety,hecannotjumpoutofhistimesandthushestillwritesformen．Intheeyesoftheauthorofthisthesis，thoughShakespeareadvocateshumanism，heisnotagainstthefeudalnotions，butinsteadinfluencedbythemdeeply．Furthermore，thedistortedviewtowardswomenintheBibleisanothersourceofhispointofviewonwomen．Asaresult，theheroinesinhisworldcanrevealhisconservativeviewpointonwomen．WecanfigureoutthathisviewonwomanstemsfromthetraditionalChristianviewonwomenasshownbytheremarksofKatherineattheendofTheTamingoftheShrew：“Thyhusbandisthylord，thylife，thykeeper，thyhead，thysovereign．”(94)ThisideologyisshownfirstlyintheBibleas：“Wives，besubjecttoyourhusbandasyouaretotheLord⋯JustasthechurchissubjecttoChrist，SOalsowivesoughttobe，ineverything，totheirhusbands．”(Ephesians5：22-24)Themaleconsciousnessinthesesentencesshocksalotofpeople．Besides，thewordsofKatherinaaretheidealportrayalofthetraditionalChristianviewonwoman，whichcanrevealShakespeare’Sviewonwomentosomeextent．ThecharactersinShakespeareandramasareextremelycolorfulandmanydomesticandforeignscholarshaveanalyzedthemfromdifferentperspectives．ForeignscholarshavemadecertainevaluationonthetypicalcharactersofShakespeareandramas．Atthebeginningofthe19mcentury，HazlittmadeathoroughanalysisofShakespeareancharactersinhisCharactersofShakespeare'sPlays(1817)．Goethepointsoutthatallthe2
M．A．ThesisIntroductioncharacteristicsofOpheliacanbeoutlinedbyfewwordsandtheriteisjustlikethegauzeonherchest，whichcannothidebutinsteadrevealthefluctuationofherinnertranquilityandsoftnesswhenheexpoundsHamletinWilliamdeMaistreLearningTime(1962)．StuartsaysinhisShakespeare'sCharactersandTheirMorality(1979)thatShakespeare’Sdramacharactersarenottheperfectmoralexamplesbutlivingimages．JulietDusinberre’SShakespeareandtheNatureofWomenandTheWoman's砌Ⅳ(1980)arebothperceivedasimportantworksinShakespeareanfeministcriticism．Inthesebooks，heemphasizesontheroleoffemalesinShakespeare’Splaysandthenfurtherdemonstratesthepatriarchalthoughtsinthem．InShakespeareInterpretation(1998),1-hetranslatorpointsoutthat，TaylorsaidinhisOnShakespearethatallthewomeninShakespeareandramaswerecutechildren，whoweretender，debonail’andfullofaffection．HeniefiguresoutinShakespeare0MaidsandWomen(2007)thatCordeliahasapureheartbutisaliRlebitstubborn．SaraEkicish-OWSinFeministCritickrm．"FemaleCharactersinShakespeare'sPlaysOthelloandHamlet(2009)that，OpheliaseemstobetheidealrepresentationofElizabethandaughterhood．Besidethis，neitherOphelianorQueenGertrudehasan37powerorautonomy．PaulThomsonputsforwardinFemaleCharactersinHamlet,RomeoandJuliet,andMacbeththatOpheliaisanemotionallycomplexwoman，andshehasSOlittlecontrolovermostaspectsofherfife．Shedoesjusthavetherighttodecidetoliveordie．Whenconfrontedwithimmensepain，shechoosestodrownherself．3
M．A．ThesisIntroductionInadditiontothewestemscholars’researchonShakespeareandramacharacters，thescholarsinChinaalsohavegotsomeresearchachievementsinthisaspect．In1992，ZhuWenandZhangJunchuanclaimintheirShakespeareDictionarythatGonerilandRegonhaveabrutishnaturewhileCordeliashowsaholybeauty．Inaddition，theauthorsbelievethatOpheliaisakind，naive，anddelicateinexperiencedgirl．ChenXiao’SFeministCriticismandShakespeareStudies(1995)listssomeexamplesofbadwomen，suchasRegan，Mrs．Macbeth，KatherinaandSOon，andfinallyreachestheconclusionthatShakespeareandramaembodiesthehatredtowardswomeninthepaternalculture．Butshedoesn’tanalyzetheinfluenceofChristianityandtheBible．ZhangYouzhou’SShakespeare0DramasCharacters(2002)relocatesShakespeareandproposesanewevaluationoncharactersofShakespeare’Sdramas．QiuJialing’STheTamingoftheShrewandShakespeare0FeministConsciousness(2002)combinesthestatusofwomen，cultm'eandreligionofShakespeare’Stime，andthenprobeshisfeministconsciousnessbyanalyzingthestructureofTheTamingoftheShrewandthecharacteristicsofthefemalecharactersinthisdrama．JuRui’SShakespeare台FeministConsciousnessandTheTamingoftheShrew(2003)pointsoutthatthethoughtsandemotionsoftheheroinesinthisdramaallembodytheawakeningofwomen．Womenhavethesamedignityandpersonalityasmen．WuChizhemakesadetailedanalysisofKingLearandCordelia’Spersonalitytomanifesttherichnessof4
M．A．ThesisIntroductionShakespeareancharactersinArchetypeinKingLear(2004)．SongYangivesanoveral．1reviewofthefemalecharactersintheShakespeareandramasinTheStatus05rWomeninShakespeare0Comedies(2005)andclaimsthatsomecharactel‘Sisenjoyinga‘‘dominantstatus’’andmeanwhiletakes‘‘therestrictionofsocialcustoms．”ComposedbyLiangGongandotherprofessors，thebookShakespeareandtheBible(2006)showsthecloserelationshipbetweentheShakespeareandramasandtheBible．ItrevealsthatShakespeare’SviewonwomenismainlyinheritedfromtheBibleandtheChristianviewonwomenbythestudyoffemalecharactersinhisplays．HuaQuankun’SOnShakespeare(2007)analyzesthelanguageandcharacterizationofShakespeare’SmaindramasandappliesmodemtheoriestostudyShakespeareandramasinanewperspective．ZhangWei’SIntensiveReadingonShakespeare(2009)exploresthecharactersinShakespeare’Shistoricaldramas，tragediesandcomediestofurtherunderstandShakespeare’Scharacters．ZhuangXinhong’sInterpretationofShakespeare0DramaCharactersfromArchetypalPerspective(2010)appliesthearchetypetheorytogetanewinterpretationofShakespeare’Sdramacharacters．Accordingtothematerialsmentioned，weknowthatthescholarsinacademicfieldhavemadeadetailedstudyonthefemalecharactersofTheTamingoftheShrew,HamletandKingLear．However，theseresearchesalwaysfocusonthecharacters’personalitiesbecauset11eyCanbedeeplyresearched．However，afteracarefulreadingofShakespeareandramasand5
M．A．ThesisIntroductionsummarizingthesefindings，wecanfigureoutthatthereisacloserelationbetweenShakespeare’SdramacreationsandChristianculture，andShakespeare’SviewonwomenisinlineofdescentwiththeChristianviewofwomen．Thisisanindispensableaspectofthecharacteranalyzing．AsamalewriterinfluenceddeeplybytheChristianculture，ShakespeareinevitablytendstoportrayfemaleimagesinhisdramasaccordingtothetraditionalChristianviewpointmoreorless．However，mostscholarsinChineseacademicfieldjustfocusonthecharacteristicsandtragediesofwomen，ortheirfeministconsciousness，andSOfarfewhavemadeanexplorationintotheangelandmonsterimagesofShakespeare’SfemalecharactersaccordingtohisChristianculturalbackgroundandtheinfluenceoftheBible．TheauthorofthisthesisholdsthatthisisanaspectcannotbeneglectedintheShakespeareandramacharactersresearch．InChina，itisanewperspectivetoapplytheFeministtheorytoanalyzetheangelandthemonsterimagesinShakespeare’SdramascombinedwithhisChristianbackgroundandtheinfluenceoftheBible．AnalyzingShakespeare’SdramacharacterswiththeFeministtheorycanattractpeople’SfurtherattentiontoandunderstandingofthecharactersinShakespeareandramasandalsohascertainenlightenmenttotheShakespeareanresearchinChina．Generallyspeaking，monsterimagesCanbesubdividedintothreegroupsbasedonthestandardshownintheBible．Thefirstkindcontainswomenwhohavemale’Swisdomandambition．Thesewomenareusuallyruthless6
M．A．ThesisIntroductionandcruel．GonerilsistersinKingLeararegoodexamples．Besides，intheChristianperspective，chastityistheforemosttraitofagoodwoman，thusthesecondkindofmonstersinShakespeareandramasisthewantonsuchastheQueeninHamlet．AsProverbsdeclaresintheBible，awomanwhojabbersonandonandhasthediscoursepowerisnotagoodone．Thisisthethirdkindofmonster，whichisalsocalledashrewjustasKatherineinTheTamingoftheShrew．ThereforewecanseethatthemonsterimagesinKingLear,HamletandTheTamingoftheShrewarethetypicalexamplesrespectively．Asaresult，theauthorintendstoselectthesethreeplaystoanalyzethefemaleimagesinShakespeareandramas．FeministLiteraryCriticismaroseinthe1960s，whichgavethemaleculturaltraditioninliteratureasevereshockandgavetheworldatotallynewangletoinvestigateliterature．Itisacriticismcenteredonwomen．Thetargetsofstudycontaintheimage，creationandreadingoffemale．Itdesiresatotallynewinterpretationofliteraryworksfromtheperspectiveoffemaleandcriticizesthedistortionoffemaleimagescreatedinthemaleliteraryworksseverely．Meanwhile，itinquiresintothefemaleconsciousnessinliteraryworksandstudiesthewayofwritingandexpressionpossessedbyfemaleonly．Amongalltheschoolsoffeministliterarycritique，women’Simagecriticismfocusontheportraitsoffemaleimagesinmale—authoredtextsandcommentsonthetextsmadebymale，andthuspenetratethefalsefemaleimagesinmale．authoredtextstoarousefemale’sselfconsciousnessintheend．7
M．A．ThesisIntroductionAsoneofthefoundersofthemodernAmericanfeministcriticism，especiallywomen’Simagecriticism，SandraM．Gilbert(1936一)andSusanGubar(1944一)playanimportantroleinthehistoryoffeminismintheAmericaeveninthewesternworldwithmanyfamousworks，justasTheMadwomanintheAttic：TheWomanWriterandtheNineteenth—CenturyLiteraryImagination(1979)，NoMan§Land：ThePlaceoftheWomanWriterintheTwentiethCentury，Shakespeare≥Sisters(1979)，TheNortonAnthologyofLiteraturebyWoman(1985)andSOon．Amongalltheseworks，TheMadwomanintheAtticisthemostimportantandprofoundone，whichwontheNationalBookCriticsCircleAwardin1979andrepresentsthehighestachievementofAmericanfeministcriticisminthe1970s．Thecelebratedfeminist，CarolynGHeilbrunclaimsinMakingFeministHistorythatTheMadwomanintheAtticisanimportantmomentinthehistoryandamilestoneinthehistoryoffeministcriticism．Inthisbook，GilbertandGubarstudyandthenfurthercriticizethetwokindsoffalsefemaleimages--theangelimageandthemonsterimagr—inwesternmale。authoredtextsbeforethe19mcenturyindetailstorevealthedistortionandconstraintofwomeninthepatriarchalworldhiddenbehindtheseimages．Inthefirstsection，theauthorsclaimthatinthepatriarchalsocieties，womenareregardedas“mereproperties，charactersandimagesimprisonedinmalete慰sbecausegeneratedsolelybymaleexpectationsanddesigns．’’and‘‘woman’svirtueisman’sgreatestinvention．’’(GilberandGubar8
M．A．ThesisIntroduction12-13)Thetraditionalfemaleimagesgeneratedinmale—authoredtextsarethe‘‘angel’’andthe‘‘monster’’．FromBeatriceinDante’SDivineComedy．Goethe’SMakarie，Chaucer’SWifeofBathtothe‘‘angelinthehouse"，alltheangel—womenarekind，pure，submissiveanddocile．GilbertandGubardeclarethattheseangels：Whethershebecomesanobjetd’artorasaint，however,itisthesurrenderofherself--ofherpersonalcomfort，herpersonaldesiresorboth--thatisthebeautifulangel·woman’Skeyact，whileitispreciselythissacrificewhichdoomsherbothtodeathandtoheaven．Fortobeselflessisnotonlytobenoble，itistobedead．Alifethathasnostory,likethelifeofGoethe’SMakarie，isreallyalifeofdeath，adeath-in-life．(25)Inliterary、vorks，thegenerationofangelimagesisaneffectivemethodtocontrolandevendominatewomeninthepatriarchalsocietiesasoneCanreadinTheMadwomanintheAttic：“Conductbooksforladieshadproliferated，enjoiningyounggirlstosubmissiveness，modesty,selflessness；remindingallwomenthattheyshouldbeangelic．"(23)Forlong，theseangel．womeninmale—authoredtextssetthemoralandbehaviorstandardsforthewomenintherealworldandwomenintherealworldwouldusuallyliketoadjustthemselvesaccordingtotheseliterarycharacters．Therefore，mengenerate9
M．A．ThesisIntroductiontheiridealangelimagesintheirliteraryworksjustbasedontheirownwishesanddreamsandsetagoodmodelforwomaninrealworldtoimitate．Inthisway,mencanfinallycontrolwomenandletthemtobecome‘‘angelic’’andactasthe“angelinthehouse”．Andfinallytheunfairrelationshipbetweenthetwogendersisrationalized．Ontheotherhand，anotherimage--monster,justlikeSpenser’SErrour,Shakespeare’SReganandGoneril，EveandDlilahintheBibleandSOon，is“akindofantitheticalmirrorimageofanangel．"(GilbertandGubar28)Thesewomenactastheywillandrefusetosacrificethemselvesandsubmittothemale，thatistosay,theydisobeythestandardrulessetbythepatriarchalsocieties，SOtheyareportrayedasvariousmonstersinmale’Stexts．Malewritersalsowanttopersuadewomenintherealworldtoavoidthebehaviorsofthemonster-womanbythesekindsofdepictionandatlastachievetheircontroloverwomen．Afeministoncepointedoutthatthereisnopureangelormonsterintherealworld，buttheartistsinsisttogenerateangelormonsterimagesintheirworksandseektosettheiridealmodelsforwomen．Thereby,wecanreachtheconclusionthatbothimagesarecreatedbymalewritersforthesamesake---theyeagertocontrolthefemalesintheirtextandthenfurthercontrolallthewomeninthereality．AsVirginiaWoolfsaid，wemust“kill’’the“angelinthehouse．”Andinaddition，iffemalewriterswanttobreaktheconstraintsetbythepatriarchalsocieties，gaintheirlO
M．A．ThesisIntroductionself-consciousnessandliveasarealpersonastheirownwills，theyshould：Inotherwords，womenmustkilltheaestheticidealthroughwhichtheythemselveshavebeen“killed"intoart．Andsimilarly,allwomenwritersmustkilltheangel’Snecessaryoppositeanddouble，the“monster'’inthehouse，whoseMedusa-facealsokillsfemalecreativity．(GilbertandGubar28)Allinall，inSandraM．GilbertandSusanGubar’Seyes，thesefemaleimagesinmalewriters’works，nomatterangelormonster，mainlydon’tcorrespondwiththewomenimagesinthereallife，andarejustthereflectionofmalewriters’discriminationtowardsfemale．Theyareallthedistortionandconstraintofwomenbyvariousmeansandreflectthedeep-rooteddiscriminationandbelittlementofwomeninthemalecenteredpatriarchalsociety．SofarasthispartpresentsabriefintroductiontothefemaleimagesinShakespeare’SplaysandGilbertandGubar’Sfeministtheory,itshowsobviouslythatthistheorycouldbeusedtoanalyzethefemaleimagesintheShakespeareandramas．ThethesisaimsatexploringthetypicalfemaleimagesasangelsormonstersinthreeShakespeareandramas．Shakespearehascreated37dramasinhislife．Amongallhisdramas，theauthorofthethesisselects
M．A．ThesislntroductionKingLear，HamletandTheTamingoftheShrewastheanalyzedtextstoinspectthefemaleimagesinShakespeareandramasbecauseGoneril，Regan，Cordelia，Gertrude，Ophelia，KatherinaandBiancainthesethreedramasarethetypicalangelormonsterimagescreatedbyShakespeare．AndfurthertheauthorofthisthesistriestorevealtherealnaturesofthemundertheirmasksaccordingtothetheoryofangelandmonsterofGilbertandGubarandtoprobeintoShakespeare’Srealviewonwomen．However,howdoesShakespearedepicttheseangelandmonsterimages?Whataretherealfeaturesoftheseangelsandmonsters?WhatisShakespeare’Sviewtowardswomenasrevealedinhisdepictionofthesewomen?Inordertoanswerthesequestions，thisthesisisdividedintothreechapters．Inchapterone，theimagesofangelormonsterinKingLearwillbediscussedandfurthertheauthorofthisthesistriestoreconstructtheirimageswithouttheirmasksofangelormonster．ChaptertwoprobesintotheimagesofangelormonsterinHamlet．AfteranalyzingtheimagesofOpheliaandGertrudeasangelormonster，theirtruefeatureswithoutthemaskswillberevealed．TheimagesofBiancaandKatherinaastheangelorthemonsterwillbeinspectedinChapterthreeandtheirimageswillbereconstructedfromtheperspectiveoffeminism．AndtheauthorofthisthesisalsointendstoprobeintoShakespeare’sviewsonwomenwhileanalyzingtheimagesofthewomeninthethreedramaseitherasanglesormonsters．12
M．A．ThesisChapterlImagesofAngelandMonsterinK／rigLearChapter1ImagesofAngelandMonsterinKingLearSandraGilbertandSusanGubar，thefamousAmericanfeminists，haveanalyzedthetwokindsoffictionalfemaleimages，angelimageandmonsterimageinwesternmale．authoredliteratureindetailsbeforethe19‘hcenturytorevealthedistortionandconstraintofwomenhiddenbehindtheseimagesinthepatriarchalworldinTheMadwomanintheAttic．Theydeclarethatthetraditionalfemaleimagesgeneratedinmale—authoredliteraryworkscanbemainlydividedintotwocategories：angelsandmonsters．Alltheangelicwomen，justasBeatriceinDante’SDivineComedy，Goethe’SMakarieandChaucer’SWifeofBath，arekind，pure，submissiveanddocileasmalesexpected．AccordingtoGilbertandGubar,however,anangelis“thesurrenderofherself_ofherpersonalcomfort，herpersonaldesireorboth--thatisthebeautifulangel-woman’skeyact"(25)．Ontheotherhand，monster-womendisobeythestandardrulessetbythepatriarchalsocieties，thustheyareportrayedasvariousmonstersinmen’stexts．Femaleimagesintheseworkswhicharewrittenbymaleauthors，nomatterangelormonster，aremainlythedistortionandconstraintofwomentosomeextent．Bothimagesarecreatedbymalewritersforthesamesake，theywanttocontrolthefemalesintheirtext13
M．A．ThesisChapterlImagesofAngelandMonsterinKingLearandthenfurthercontrolallthewomeninthereality．Thisalsoreflectsthedeep-rooteddiscriminationandbelittlementofwomeninthemalecenteredpatriarchalsociety．AsoneofShakespeare’Sfourgreattragedies，KingLeartellsastoryaboutKingLearandhisthreedaughters．AgedLeardistributeshiskingdomandfortuneaccordingtohisdaughters’‘‘lovetohim"，whichsubsequentlyleadstoaseriesofconspiraciesinthepalace，andputshimindestitution．Shakespeareportrayedthreefemalecharacters，Cordelia，GonerilandRegan．TheseheroineshavetotallydifferentimagesinKingLear．ItisnotdifficultforonetofigureoutthatCordeliashowsthetraditionalfeaturesofanangelwhileGonerilandReganareregardedasthemonsters．ByemployingthetheoryaboutangelandmonsterproposedbyGilbertandGubar，thischapterintendstoanalyzethefemaleimagesinKingLear,andreconstructtheirimagesfromthefeministperspective．1．1TheImagesofCordelia，GonerilandReganCordeliainKingLearisoneofthemosttypicalangelimagesinallShakespeare’Sdramas．InKingLear，Cordeliajustappearsonthestagefor4times(ActI，SceneI；ActIV，SceneVII；ActV，SceneIII)，however，herpersonalitiesleavedeepimpressionsonthereaders．TherearesomefeaturesthatarehighlypraisedbymeninCordelia,justasXieLinjing14
M．A．Thesis．——一—————————————————————C——h—a—p—t—e—r—1——I—m—a—g—e——s—o—f—A——n—g—e—l——a—n—d——M——o—n—s—ter—in—KingLear一—_-———_———-—-————————_—_—————————————-——__———-———_—___———————————————_——_—————————一一says，“SheembodiesmanyvirtuesofShakespeare’Sidealwoman：tenderheart，lovingnature，dignity，resolutionandself-respect．”(26)Withthesevirtues，Cordeliaisalwaysperceivedasanangel．GilbertandGubarindicateinTheA缸咖D历绷觑theAtticthattheidealwomanexpectedbymalewritersisalwaysanAngel，andCordeliaissuchanangelwiththeloving，lenient，honestandobedientimageinthetraditionaldimension．OnthecontrarysideofCordelia，GonerilinKingLearisatypicalsireninShakespeare’Sworks．WilliamHazlittsaysthatGonerilandReganare：‘‘sothoroughlyhatefulthatwedonotevenliketorepeattheirnames’’(85)Asadeceiver，sheisnotonlyunfilialtoherfather,butalsodishonesttoherhusband．Besidesthis，Gonerilactsasalurer．Crueltyisanothercharacterofher．Theexistenceofthiskindofwomenisahugethreattothepatriarchalsocietyhowever．AsanothermonsterinKingLear，Reganismoreofanaccompliceinthisplay,whoisluredbyhereldersisterGoneril．Herevilisnolessthanhersisterhowever．Shealsohasastrongdesireforpowerandwantstopursueherownbelovedman·Alltheseactionsaredreadedbymenatthattime．AsTysonclaims：‘‘Ifawomandoesnotacceptherpatriarchalgenderrole，thentheonlyrolelefttoheristhatofamonster'’(88)，itisundoubtedthatsheisanothermonsterinthisfamousplayinmen’seyes．Inthefollowingpart，theauthorofthisthesisintendstopresentCordelia’SangelimageandtheevilfeaturesofGonerilandReganastheinKingLearbyclcreadinofKin,LearmonstersinKingLearbyaclosereamngngear．●15
M．A．ThesisChapter1ImagesofAngelandMonst—e——r—in—K—ing——Le．a．．．—r—1．1．1Cordelia：ALovingAngelofLeniency,HonestyandObedienceTobeginwith，Cordeliathinkshighlyoflove，includinglovetoherfather，sistersandherhusband，justasG．WilsonKnightbelievesthatCordelia“representstheprincipleoflove．”(220)Cordeliaisafilialdaughterandherlovetoherfatherrunsthroughthewholetext．Attheverybeginningoftheplay，sheshowsherlovefranklyasfollowing：UnhappythatIam，IcannotheaveMyheartintomymouth：IloveyourmajestyAccordingtomybond；normorenorless．Youhavebegotme，bredme，lov’dme：IRetumthosedutiesbackasarerightfit，Obeyyou，loveyou，andmosthonouryou．(164)1Herwordsaresimpleandunadornedunlikehertwoeldersisters．Howevershelovesherfatherfromherheart．Asshecannot“heavemy(her)heartintomy(her)mouth”，itishardforhertoexpressherlovebywords．Inhermind，“mylove’Smorericherthanmytongue．"(163)Thusshedoesn’twanttouseexaggeratedwordstoshowhertrueloveandshechooses“love，andbesilent．”(162)Sheneveraccusesfortheinjusticeandmisfortunesshehassufferedwhenherfatherswearsather，andshejustbegsherfather：16
M．A．ThesisChapterIImagesofAngelandMonsterinKingLear—_thatyoumakeknownItiSnoviciousblotnorotherfoulness，Nounchasteaction，ordishonour’dstep，Thathathdepriv’dmeofyourgraceandfavour．(173—174)Forallherfather’Scensuresandcursing，sheacceptsthemwithoutanyretort．Furthermore，nomatterhowbadlyLeartreatsher，Cordeliashowsheraffectiontowardsherfather．Sheisfilialthoughherfatherdidn’tgiveheranylandorfortuneandevendeclares：“HereIdisclaimallmypatemalcare，propinquityandpropertyofblood，andasastrangertomyheartandme，holdtheefromthisforever．”(165)Whenshehearsthatherfatherwasmad，Cordeliasays：“Hethathelpshimtakeallmyoutwardworth．”(322)InCordelia’Sheart，herfatherweighsmuchmorethanallherfortune．Thoughtreatedunfairly，CordeliaiswillingtoexchangeallherfortuneforLear’Shealth．Besides，sheeventreatshertwoviciouseldersisterslenientlyinsteadofrevealingtheirhypocriticaldeedsandevenbegsthemtotakegoodcareoftheirfatherwhensheiSinFrance：Iknowyouwhatyouare：17
M．A．ThesisChapter1ImagesofAngelandMonsterinKingLearAndlikeasisterammostloathtocallYourfaultsastheyareRam’d．Usewellourfather：ToyourprofessedbosomsIcommithim：(176)Sheknowshersisters’realcharacters，butasayoungersister，Cordeliaholdsthatitisnotpropertoexposethem．Ignoringtheirsatires，theonlythingshecandoistobegthemtotakecareoftheirfather．Evenafterbeingcaughtbythem，shestillbelievesthattheywon’treallykillherandtheoldfather．Astoherhusband，sheisalsodevoted：“Haply，whenIshallwed，thatlordwhosehandmusttakemyplightshallcarryhalfmylovewithhim，halfmycareandduty．"(164—165)Thisisherlovemanifesto．Thoughitisnotmentionedinthetext，wecanimaginethatshedoeswellasawifeinFrancebecauseofthesewords．Apartfromlove，leniencyisanothertraitofCordelia．Shetreatsherfatherwithmercy．Learnotonlydeprivesherfortuneandcursesher，butalsowantstostopothermenfromwooingher．Cordeliadoesn’thatehim，however．Instead，shebegshersisterstotakegoodcareofhimandpersuadesherhusbandtosaveheroldfatherwhensheheardoftheoldman’svicissitudes．Sheoncesaid：‘‘Mineenemy’Sdog，thoughhehadbitme，shouldhavestoodthatnightagainstmyfire．"(352)Evenherenemy’Sdogcanbeforgivenbyher，letalonehumanbeings．Thereisnoideaofrevengeinhermind．Forgivenessishertruevirtueasanangel．Obviously，onecanfigureoutthat18
M．A．ThesisChapterlImagesofAngelandMonsterinK{ngLearCordeliaiSawomanwithakindandbenevolentheart，inwhosemindthereisnohatred．Asatraditionalangelimage，Cordeliaishonestandfrank．Herhonestyisexpressedincisivelyandvividlyattheverybeginningofthetragedy．Thoughsheknowsthatifshegivessomegoodwordstoshowherlovetoherfather，sheCangetmuchmorefortunes，hersoulisSOpureandproudthatshecannotsayanythinginconsistentwithherheart．CliffordDavidsononcesaid：‘‘Cordeliaisproventobeininwardnolessthanshehadbeeninoutwardshowatthebeginningoftheplaywhenshehadstoodasaniconoftruthagainstflattery．’’2SoshepreferstobecursedbyherfatherthantoexaggerateherloveasbeinghonestisperceivedmoreimportantbyCordelia．Sheemphasizesthat：“Soyoung，mylord，andtrue．”(165)Thuswecanseetobetrueisimportanttoherandshereallydoeslikethat．Furthermore，obedienceisnecessaryforanangel．WhenLearmadlydeprivesallherdeservedfortunes，Cordeliashowsnorevoltandacceptstheresultssilently．WhenthekingofFranceismovedbyhervirtuesandsaying：‘‘TheeandthyvirtueshereIseizeupon：beitlawfulItakeupwhat’Scastaway．”(175)，Learjustreplies：“Thouhasther，France；letherbethine．”(176)Noonehasaskedforheropiniononhermarriage，andsheherselfagainacceptsthesemen’sarrangement．LeahintheBibletellsthesamestoryatthisaspect．Leah’sfather,Laban，givesLeahtoJacobashiswifejustforthereasonthatitiscustomarytogivethefirstbornbeforetheyoungerdaughter．
M．A．ThesisChapterIImagesofAngelandMonsterinK{ngLearTheyneverpayattentiontowomen’Sfeelingandtheirownwishes．Women’Sobedienceistakenforgrantedinthemale—centeredsociety．Allinall，onecanfigureoutthatCordeliacansatisfymen’sexpectationofidealwomeninthepatriarchalsocietyandthussheischaracterizedasanangelwithleniency,honestyandobedienceinKingLear．1．1．2Goneril：ASeductiveandCruelDeceiverandWantonForemost，Gonerilisadeceiver．Attheverybeginningoftheplay,inordertogetmoreofthekingdomandauthority,Gonerildeceivesheroldfathertogetpartofthekingdomwithsweetworldsasfollowing：Sir,Iloveyoumorethanwordscanwieldthematter：Dearerthaneye-sight，space，andliberty；Beyondwhatcanbevalu’d，richorrare；Nolessthanlife，withgrace，health，beauty,honour；(161-162)Withtheseexaggeratedwords，shegetsthelandandauthorityshewants．However,severaldaysaftershegotthesethings，hermonsterqualityemergesasshetreatsherfatherbadly．Inthefirstmonthofherfather’Sstayinginherhome，shebeginstoabusehim．Shenotonlytreatsherfathercoldlyherself,butalsotellsherretinuestotreatherfather’Sknightscoldlyandputonweary20
M．A．ThesisChapteriImagesofAngelandMonsterinKingLearnegligencetowardsherfatherandhisknights．Besidesthis，Gonerildisarmshalfofherfather’Sknightstoensureherthoroughauthority．Thelovesheclaimedbeforenevercomestrueandsheisjustadeceiver．AsintheBible，deceptionisconsideredtobeoneofthemaincharactersofa“badwoman”，themonster．Delilah，themostfamousmonsterintheBible，isalsoadeceiver．ShecoaxesSamsonforsomepiecesofsilver：ThelordsofthePhilistinescametoherandsaidtoher,“Coaxhim，andfindoutwhatmakeshisstrengthSOgreat，andhowwemayoverpowerhim；andwewilleachgiveyouelevenhundredpiecesofsilver．"(Judges16：18)Togetthemoney,DelilahnagsSamsonandpestershimdayafterday,thusSamsontoldherhiswholesecret，whichissoldtothelordsofPhilistinesbyDelilahandfinallyleadtoSamson’Sdeath．Afterhisdeath，Delilahisregardedasaguiltydeceiver．Anddeceptionisusuallyregardedasamaincharacterofamonster．Inaddition，Gonefilisatypicalseducer．Eveistheexactexampleofaseducer．ItisEvewhoseducesAdamtoeattheforbiddenfruitandfinallyiscursedbyGod．Fromthenon，Eveisviewedasthesourceoftheoriginalsinandseductionisperceivedasacharacterofamonster．Inthisplay,theimageofGonefilisidenticalwiththeimageofEveintheaspectthatthetwoare2l
M．A．ThesisChapterlImagesofAngelandMonsterinKingLearbothseducers．Shenotonlydoeseviltoherfatherandsisterherself,butsheisalsoalurer．SheseduceshersisterRegantodoeviltoherfathertogetherwithher．ImmediatelyafterherfathergavethecountrytOherandRegan，sheluresRegantostandbyhertodealwiththeiroldfather：“Prayyou，letUShittogether：ifourfathercarryauthoritywithsuchdispositionsashebears，thislastsurrenderofhiswillbutoffendUS．”(178—179)Shepresentstheterribleresultsofherfather’SregainingoftheauthoritybeforeReganandthusluresRegantohittogetherwithher．Later,whenshetreatsherfathercoldlyandevenwantstodrivehimaway，shealsoseduceshersister：“I'llwritestraighttomysistertoholdmyverycourse．”Shejustaskshersistertotreattheoldfatherascoldasher．Undoubtedly,theseactionsarejustlikeaddingfueltotheflamesofthesininRegan’Sheart．Andeventually,RegantreatstheirfatherinthesamewaywithGoneril．GonerilisundeniableaseducerwholuresRegantodoeviltotheirfather．Furthermore，GoneriliSsomewhatawanton．SheiSdishonesttoherhusband．InGoneril’Smind，herhusbandisjustacoward．ThusGonerilisthestrongerpartyintheirmarriage．Sheusuallyscoldsherhusbandas：‘‘Milk—liver’dman’’，‘‘Amoralfool’’and‘‘vainfool’’(313—314)．Goneril’ShatredtowardsherhusbandCanbeseenclearlyinthelettershewrotetoEdmund：“ThenalnItheprisoner，andhisbedmygaol；fromtheloathedwarmthwhereofdeliverme，andsupplytheplaceforyourlabour．”(347)ThemarriagebetweenGonerilandherhusbandseemstobeahinderforherto
pursuepowerandloveinhermindandsheregardsherselfasaprisoner·Togetridofthismarriage，sheevenasksEdmundtokillherhusbandSOthatshecouldmarryEdmundnaturally．HerlongingforEdmundisobvious．Intheveryletter，shesigned：‘‘Your—wife，SO1wouldsay--affectionateservant，Goneril”．Whenherhusbandisstillalive，shecallsherselfasthewifeofanotherman．Thismakesherimageofawantonvivid．EvenRegansaysfranklytoGoneril’Ssteward：Iknowyourladydoesnotloveherhusband；Iamsureofthat：andatherlatebeinghereShegavestrangeoeilliadesandmostspeakinglooksTonobleEdmund．(325)Regan’SwordsshowthatGoneril’lovetoEdmundandhatredtoherhusbandisnotasecret．Sheexpressesthisobviously．Besidethis，giving“strangeoeilliades’’and‘‘speakinglooks’’toamanwhoisnotherhusbandinthepublicisthoroughlyabehaviorofawanton．CrueltyisanothercharacterofGoneril．Shedoesn’ttrulyloveherfather,sisterorherhusband．Inhalfamonth，shedisarmshalfofherfather’Sknightsandtellsherstewardtotreatherfathercoldlyandbadly．Inastormynight，sheeventellsGloucesternottotakeherfatherinbysaying：“Mylord，entreathimbynomeanstostay．’’(258)SheisSOcoldheartedtowardsheroldfather．The
M．A．ThesisChapter1ImagesofAngelandMonsterinK／ngLearsituationofhersisterReganisevenworse．Whentheirconspiracyfailed，GonerilpoisonsRegantodeath：“hersisterbyherispoison’d；sheconfessesit．"(382)Others’livesarescornedbyGoneril．Asshedoesn’tloveherhusbandanymore，sheasksherloverEdmundtokillhim：“LetourreciprocalVOWSberemembered．Youhavemanyopportunitiestocuthimoff．’’Goneriliscoldheartedtowardsherfamilymembers，letaloneotherpeople．WhentheyregardGloucesterasthetraitor，shecruellyorders：“Pluckouthiseyes．"(295)Gonerilusesallmeanstoachievehergoalsandpursuewhatshewantswithouthesitation．BradleyfirmlyclaimsGonerilasamonster：Hervisageiswolfish：shehastiedsharp—toothedunkindnesslikeavultureonherfather’Sbreast；forherhusbandsheisagildedserpent；toGloucesterhercrueltyseemstohavethefangsofaboar．SheandReganaredog-hearted：theyaretigers，notdaughters．(218-219)InBradley’Seyes，Gonerilevencannotbecalledahumanbeingforallherevils．Whenhereferstoher，hejustusessomeanimalsjustasserpentandtigertosubstitute．Tosumup，asatypicalimageofmonster，Gonerilisnotonlycruelandcoldhearted，butalsoadeceiver，seducerandawanton．24
M．A．ThesisChapter1ImagesofAngelandMonsterinKingLear1．1．3Regan：ACruelandLasciviousDeceiverDeceptionisalsoRegan’Shabituallyusedtricktoachieveherambitionanddesire．Justlikehereldersister,Reganboastsherloveforherfatheraimingatgettingpartofthekingdomandherfather’Sfortuneattheverybeginningofthisplay：Onlyshecomestooshort：thatIprofessMyselfanenemytoallotherjoysWhichthemostprecioussquareofsensepossessesAndfindIamalonefelicitateInyourdearhighness’love．(163)Inherwords，herloveforherfatheroutweighsanyotherjoysandfortune．Byflatteringheroldfatherwiththiswords，Reganalsogetsonethirdofthekingdomasshewishes．Butherunfilialactionslaterexposeherlies．WhenherfatheraccuseshersisterGoneril’SguilttoherandclaimsthathewillnotturnbacktoGoneril’S，Reganjustaskshimtoretumandapologizetohersisterbysaying：“ThereforeIprayyouthattooursisteryoudomakereturn；say,youhavewrong’dher,sir．”(248)Whenherfatherintendstolivewithher，sherefusestoughly：“NotaltogetherSO：Ilook’Snotforyouyet，nor锄providedforyourfitwelcome．”(253)Shejustrefusestosupportheroldfather．Ifasshesaidbeforethatherloveoutweighseverythingelse，sheshouldtakeher25
M．A．ThesisChapter1ImagesofAngelandMonsterinKj馏Learfatherwithherunconditionally．Besidesthis，sheemphasizesforseveraltimesthatherfatheriStoooldthatheshouldlistentohersisterandbeunderhercontr01．Sheevenwantstodisarmallherfather’Sknights，whicheventuallydrivestheoldmanouttothewild．Inthestormynight，shealsoordersGloucesterto“shutupyourdoors”andnottOtakeherfatherin．Wecannotfeelherlovetoherfatherata11．Thuswecanreachtheconclusionthatwhatshesaidbeforeaboutherloveforherfatherisjustalieandsheisadeceiver．BeingadeceiveristhefirstreasonforwhyReganisregardedasamonster．CrueltyisalsoacharacterofRegan．SheisSOcoldheartedtowardsherfatherthatshetreatsothersevenworse．WhenGloucesterisconsideredtobeatraitor，Regancruellygivestheorder：“Hanghiminstantly．”(295)Fromthisorderwecanseethatothers’livesworthnothingtoher．NomatterhowhonestGloucesteristoherfather，Reganshowsnosympathytohim．Regan’Sheartlessnessisshownclearlywhensheorders：‘‘onesidewillmockanother；theothertoo．’’(300)afterGloucesterhasalreadylostoneeye．Atlast，sheandEdmundevencommandtheirguardstosecretlykillKingLearandCordelia．Thoughtheyareherfatherandsister，Regandespisestheirlives．Forherownauthority，sheCanignoreeverythingelseincludingtheirlives．ThisalsocontributestohermonsterimageasAlfaronceclaimed：GonerilandReganbehavelikemen；theyreject“natural’’formsoffemininity，suchassympathy，nurtm'ance，andobedience，for
M．A．ThesisChapterIImagesofAngelandMonsterinK／rigLearthemasculine，andtherefore“unnatural，’’performanceofrationality，ruthlessness，andambition．Theyare，asaresultoftheirgendertransgression，evil．(19)Inmen’seyes，sympathyandobediencearethenaturalformsofwomen．Thus，thecoldheartedReganwhoevenhasadominantpositioninhermarriageisdefinitelyregardedasamonster．Lastbutnotleast，ReganisreallyalasciviouswomanaccordingtoShakespeare．Awidowissaidtohavedisobeyedthetraditionalrulesawomanshouldobeyifshemarriesanotherman．AccordingtotheChristianview，agoodwomanshouldnevermarrytwice．ThesameistruetoShakespeare．Womenmarriedtwicearedescribedasmonstersinhisworks．ImmediatelyafterherhusbandCornwall’Sdeath，sheexpressesherlovetoEdmund：“Now，sweetlord，youknowthegoodnessIintenduponyou⋯”(357)Sheshowsnosadnesstowardsherhusband’Sdeath，butinsteadturnstoanothermanimmediately．Later，sheevenfranklydeclaresEdmundtobehernewhusband：Takethoumysoldiers，prisoners，patrimony；Disposeofthem，ofme；thewallsarethine；Witnesstheworld，tIlatIcreatetheehereMylordandmaster．(370)27
M．A．ThesisChapterIImagesofAngelandMonsterinKingLearShegivesherauthoritytothismanandactivelyclaimshimtobeherhusband．Shenotonlywantstomarrytwice，butalsopursueherloveactivelyandfrankly．Thesebehaviorsarenotacceptableinthemale-centeredsociety．Thussheisregardedasamonster．1．2ReconstructionoftheThreeFemaleImagesAsGilbertandGubarinsisted，however，theangelimagesarejustthereflectionofmen’Sdesiresandaestheticjudgmentswhichignoresthefreewillofwomen．Atthesametime，monsterimagesinthemale-authoredtextsarethedistortionofwomenfortheseimagesareportrayedasmonstersmainlybecausethattheycannotsatisfythemen’sexpectationoftheiridealwomeninthepatriarchalsocieties．ThusitisnecessarytoreconstructtheimageofthesewomenunderthemaskofangelormonsterinthefeministperspectivesaccordingtotheangelandmonstertheoryofGilbertandGubar．Inwhataspectsisthewomanportrayedasanangelormonster?Isshearealangelormonster?Whatishernatureunderthemask?Thesequestionswillbeaddressedinthispart．1．2．1CordeliawithouttheMaskofAngel：ADefenderofthePatriarchalSocietyAsGilbertandGubarclaimedinTheMadwomanintheAttic,theangel28
M．A．ThesisChapter1ImagesofAngelandMonsterinKingLearimagesarecreatedmainlyaccordingtomen’sexpectationsofidealwomen，Cordeliaisnotanexception．Meninthepatriarchalsocietyexpectwomentoputtheirlovetothehusbandatanimportantplace．Thushusbandisthemainpartofawife’Slife．Cordeliashowsanobvioussignofthis．Thefactthatsherefusestoexaggerateherloveforherfatherdoesn’tmeansherindependence，butjustbecauseshewantstoreservepartofherloveandheartforherfuturehusband：‘‘Whyhavemysistershusbands，iftheysaytheyloveyouall?[⋯】SureIshallnevermarrylikemysisters，tolovemyfathera11．"(164—165)Inhermind，sheshouldn’tgiveallherlovetoherfatherforthesakeoflovingherfuturehusband．Thiskindof10veisblindforsheevendoesn’tknowwhowillbeherhusbandandwhatkindofapersonhewillbe．Besidesthis，CordeliaemphasizesthesheerimportanceofchastityandpuritywhenshebegsherfathertoclearupforherbeforethekingofFranceinActI，SceneIaswehavementionedbefore．Sheisafraidofbeingregardedviciousbyherfuturehusband．Thisismoreimportantthanthefortuneandlandforher．Itistakenforgrantedthatawomanshouldloveherhusbandinthepatriarchalsocietiesthussheblindlylovesherhusbandandwantstoleaveagoodimpressiononhim．Ontheotherhand，shecouldhaverefutedherfatherorrevealedhersisters’hypocrisieswhenherfatheraccusedher．ButShakespearerefusestodesignsuchaplotforitisnotlovableforanangeltoshowanysignofresentment．Anangelshouldsufferwithoutanycomplainandbetolerant
M．A．ThesisChapterIImagesofAngelandMons——terinK．ingL．．．e．．．．．．a．．．—r—towardspeoplewhoimposepainonthem．Theyshouldkeepmildandtenderallthetime．Afterherdeath，LearevenpraisesCordeliabyfranklyclaiming：“Hervoicewaseversoft，gentleandlow，anexcellentthinginwoman．"(387)Shakespearefranklyexpressesmale’SexpectationtowardsidealwomenthroughLear’Swords．Womenshouldbesoft，gentlewithoutanyrefutation．Cordeliaisinfluencedprofoundlybythepatriarchalnotions．Whensheshowsherlovetoherfather，shesaid：“Ireturnthosedutiesbackasarerightfit，obeyyou，loveyou，andmosthonouryou．”(164)Hereonecaneasilyfigureoutthatherloveforherfatherisjustadutyandobedienceaccordingtothetraditionalnotion．AfterhermarriagewiththekingofFrance，shealsodoesherdutyofwifewell．Whensheheardofthewrongdoingsofhersisters，shecries：“sisters!Sisters!Shameofladies!"(319)TobeunfilialandambitiousiSashameofwomeninCordelia’Sbeliefs．Asaresult，atlast，herpersuadingthekingofFrancetodispatchtroopstofightagainsthertwosistersissimplytoadministerjusticeforherfatherandtoaccusehersisters’wrongdoings，butnotforherownpowerandauthorityashersisters．ThiswarisjustliketheWarforpatriarchalsystem．ThefinalresultsoftheWarcanalsorevealShakespeare’Smale—centerednotion．Inthetraditionofthepatriarchalsociety，itiscustomaryforheroestosavetheheroineswhentheheroinesareindanger．Heroinesinthetraditionalmale．authoredworks，justasinthestoryofsleepingbeauty，areusuallyweakanddelicate，whoarelackoftheirownwillandcannotbethemasteroftheir30
M．A．ThesisChapter1ImagesofAngelandMonsterinK／ngLearlivesandneedtoberescuedbymen．Theyjustpassivelywaitformentosavethustheirfatesareunderthecontrolofmen．MalesalwaysactasthesaversasEichnnercommentsthatthe‘‘idealofcontemplativepurity’’isalwaysfemininewhile“theidealofsignificantactionismasculine．"(21)TheweaknessoffemalecanserveasafoiltOmen’svigorousnessandsuperiority．Consequently，onecanpredicttheresultsofthewar．Cordeliaappearsagainintheplaytofightforheroldfatherwhowasabandonedbyhersisters．However，whenthekingofFrancegoesbacksuddenlytohiskingdom，awoman，Cordeliabecomestheleaderofonepartyofthewar．Frommen’sperspectivesinthepatriarchalsociety，itisnotproperforafemaletobethesavorforaman．Thus，inShakespeare’Stext，Cordeliafailstogetherfatheroutofthesufferingandwaseventuallykilledbyhersister．Onlymancanbetherealsaverinamale．centeredworld．Tosumup，onecanfigureoutthatthetraditionalangelimageinthemale—authoredtextistrulyadefenderofthepatriarchalconceptionandworld．AwomanwhoCansatisfythemen’sexpectationofidealwomeninthemale—centeredworldisagoodwoman，theangel．InKingLear,Cordeliaisdescribedasanangelwiththevirtuesofleniency,honestyandobedience．Asamatteroffact，itisatwistedimageofwomen．Theseangelicwomenlosetheirentirepersonality，valueandtheirownwills．TheportraitofthisangelimageshowsShakespeare’Spatriarchalthoughts．31
M．A．ThesisChapter1ImagesofAngelandMonsterin弛ngLear1．2．2GonerilundertheMaskofMonster：AWarrioragainstthePatriarchalSocietyGoneril，acruelwomanflailofambitions，thoughusuallybecriticizedonthemoralaspect，isundeniableawarrioragainstthepatriarchalsociety．Forthesakeofpowerandauthority，shesparesnoefforttoflatterherfather．Lateron，tofurtherstrengthenherpower，shetoughlydisarmedherfather’Sknightsbyhalforevenmoreassheregardstheauthorityasthemostimportantthingandshewantstobeagoodrulerofthekingdom．ThoughGialioMarraalsoviewsGonerilevilinhisShakespeareandThisImperfectWorldheacknowledgesthatitisnotvalidtohavedoubleauthoritywithinonestate．(259)Ontheabsolutelycontrarysideof“goodwoman"，theangel，Gonerilismoreofaschemerandpolitician．Asawife，Gonerilbreaksthetraditionalimageofgoodwifewhoshouldbesubmissiveandisusuallyatasubsidiaryposition．Gonerilwantstobetherulerofnotonlyherfamilybutalsothekingdom．Ontheonehand，asherhusband，DukeofAlbany，isconsideredtobeamilk-liveredfoolbythewife，GonerilactsastherealmasterofherfamilyandAlbanyhasnottherighttospeakormakedecisions，whouncommonlytakesthesubsidiarypositioninsuchamale—centeredsociety．Ontheotherhand，whenshefeelsEdmundismoreattractivetoherthanherhusband，Gonerilbravelybetraysherhusbandandtriestopursueherlove．ShetrieshardtogetEdmund’Sheartandloyaltyatallcosts．Atlast，sheevenasksEdmundtokillherhusbandtogivetheplace32
M．A．ThesisChapter1ImagesofAngelandMonsterinK／ngLea—r—tohim．Undoubtedly，inmen’seyes，Gonerilisabsolutelyawanton．However，asafemale，sherefusestobepassiveandsubmissiveandinstead，sheinitiativelypursuesthethingsshewants，whichisseenasagreatbreakthroughofthefeministconsciousness．Shewantstoplayherroleinthepoliticalworldasmenandtobetheruler．Theexistenceofthiskindofwomenandtheirthoughtsaregreatthreatstothepatriarchalsocietythustheyareunacceptabletomen．Asaresult，thiskindofwomenisportrayedasthemonsterinthemale—authoredtextstowarnthewomeninreality．Incontrovertibly，Shakespeare，asatraditionalmaninthepatriarchalworld，hatesGonerilverymuchandarrangesatragicendingforherandhersister，Regan．Whatattractsourattentionisthefactthatthoughtheresultoftheotherevildoer，Edmund，isalsotragic，ShakespearetreatshimandGonerilsistersdifferentlyifwestudiescarefully．ShakespeareshowshissympathytowardsEdmundasanillegitimatechild．Atthebeginningpartoftheplay，ActI，SceneII，Edmundshoutfortherealitythatillegitimatechildrencannotenjoythesametreatmentasthelegitimateones，whichisunfairandunreasonableinhisperspective．AstoGoneril，thereisnosignofsympathy．Asamatteroffact，EdmundismuchcruelertohisfatherandbrotherthanGoneriltoherfather．Gonerildidn’ttreatherfatherbadlyattheverybeginning．Ithappensafterthesituationthat：Bydayandnighthewrongsme；everyhour33
M．A．ThesisChapterlImagesofAngelandMonsterin硷ngLearHeflashesintoonegrosscrimeorother，ThatsetsUSallatodds：I’llnotendureit：Hisknightsgrowriotous，andhimselfupbraidsUSOneverytrifle．(190)ItisLearwhodoeswrongatfirst．Asafatherandkinginapatriarchalsociety,Learisusedtogivingordersfreelyandexpectseveryonetoobeythemunconditionally．However,afterhepassedtheauthoritytohisdaughters，itisunacceptableforGonerilandRegantobeobedientasGonerilsays：‘‘I'llnotendureit．’’Fromthenon，Gonerildecidestotreatherfathercoldlyandtodisarmhalfofhisknights．Besides，itisLearthatdecidestogoaway．Theveryreasonisthat：‘‘Iamasham’dthatthouhastpowertoshakemymanhood．"(209)AsforGoneril，shedoesn’tmeantodriveherfatheraway．Once，shehasatalkwithhersisterReganasfollowing：Regan：Forhisparticular，I'llreceivehimgladly，Butnotonefollower．Goneril：SoamIpurpose’d．(257)BoththesistersnevershowtheattemptstodriveLearoutandtheyjustdon’twanttoreceivehisfollowers．ButLearcannotaccepttherealityofdisarming34
hisfollowersjustformaintainingmanhood．Here，onecaneasilyfigureoutthatitisthehatredtowardswomen’Scontrollingpowerandposition．Inthepatriarchalsociety,onlymencanbetheruler．Afemaleruleristhenconsideredasamonster．ShakespeareismorelenienttoEdmund，wholeadstoownfather’Sblindandbeingpersecuted．Attheendoftheplay,Edmundisevenbeingforgivenbybrother．However,Gonerilisregardedasadeviltillandevenafterherdeath．Furthermore，wecanfigureoutthatwomenarejustregardedasmen’sinstrumentstoprocreatefromLear’Scurse：‘‘Dryupinherorgansofincrease．Andfromherderogatebodyneverspringababetohonourher!’’Themostseriouscursetoamonsterisjustdeprivingtheirabilityofgivingbirthinmen’sminds．ThisrevealsthatevenShakespearedoesn’ttreatwomenasequalhumanbeingsbutmen’sinstrumentstoprocreate．Astheringleaderofthistragedy,Gonerilreceivesmostcensures．However,noonecaresaboutthereasonforherdevildoings．Fromthesentence：“HealwayslovedOursistermost．"(178)wecangettheinformationthatLearshowsfavoritismtoCordeliaobviously，thusGonerilandReganreceivelittlecare．Freudsays：“Itisonlytherethatitcomesupontheimpressionsandeventswhichdeterminedthelateronsetofthementalillness．"(44)Hebelievesthatadistortedpersonalityisusuallyformedbytheconstantlyneglectofone’Sparentsinthechildhood．ThusinGoneril’Smind，onlybyemployingtrickerycanshegetthethingsthatshewants．Inaddition，Learissomewhatanoddoldmanwhoisloveless．WhenGonerilandRegan35
M．A．ThesisChapter1ImagesofAngelandMonsterinK-ngLearexaggeratedlyshowtheirlovetowardsLear，Leargivesnocommentsorresponses．Hejustbehavesasadominatorwhogivesthingstoherdaughtersincharity．Growingupinsuchanenvironment，beingcruelandcoldheartedisnatural．PuYueyingsaysinherthesisthat：“I’dliketostandfromanotherangle，inthelightoffeminismandFreudianism，toremovetheirmaskofevilandtoarguethatthey(Gonerilsisters)aremorevictimsthanevil．’’3ItisnotmerelyGoneril’Sguiltytobecruelandcoldhearted，butalsoherfather’S．Sheisalsoavictim．WeevenCansaythatGonerilhasjustinheritedherfather’Scharacters．OnceLearsays：“Thouartaboil，aplague—sore，anembossedcarbuncle，inmycorruptedblood．”(253)Here，hehimselfjustunconsciouslyacknowledgedthefactthathisevildaughterhasjustinheritedthe“corruptedblood"fromhim．Learistherealsourceofherbeingcruelandcoldhearted．Whenthesecharactersappearinawoman，however，thewomanissaidtobeamonster．Alfarhasauniqueinsightinthis：Whilethesistersplottoneutralizetheirfather’Spower，engageinextramaritalaffairswiththesameman，andstandbyasGloucester’Seyesaregougedout，theseactionsarenotevidenceoftheirinnate‘‘evil’’butaresymptomaticofthepatrilinealstructureofpowerrelationsinwhichtheyliveandtowhichtheymustaccommodatethemselves．(81)36
ItisunfairtojustclaimevilofwomenwiththesecharactersinsuchasocietyaccordingtoAlfar．Menarealsotobeblamed．Allinall，formeninthepatriarchalsociety，womenmustbesubmissivetotheirfathersandhusbands．Andagoodwomanshouldstaysilentlyathomeasanangel．AnywomanlikeGonerilwhotUlTISintotherulerofthesocietyandthefamilyisconsideredtobeamonster．Infact，theimageofmonsterisadistortionofwomen．GonerilinKingLearisinfactawarrioragainstthepatriarchalsocietywhoshowsherownwillandcanpursueforthethingsshewantspositively．1．2．3ReganWithouttheMaskofMonster：ADefenderandBravePursuerAsatypicalimageofmonster，Regan，infact，isadefenderoffeminism．Whenhersister，Goneril，hasdriventheirfatherout，ReganhasemphasizedontheideathatLearisoldthatheshouldberuledbyhersisterforseveraltimes：O，sir!Youareold；Ofherconfine：youshouldberul’dandledBysomediscretionthatdiscernsyourstateBetterthanyouyoursel￡(247—248)37
M．A．ThesisChapter1ImagesofAngelandMonsterinKingLearSheurgesheroldfathertoberuledbyhereldersisterandbelievesthatunderthefemale’ScontrolthingswillbecomebetterforLearistooold．Thoughitiscustomaryunacceptableforawomantoruleinthepatriarchalsociety，Regansupportstherulingofwomen．Shenotonlysupportstherulingofhersister，butalsowantstoplayherownroleinthepoliticalworld．Atthebeginningoftheplay，shesparesnoeffortstoflatterherfathertogetpartofthekingdomandauthority．Shewantstobetheruler．Inherownfamily，shetooistheruler．Herhusbandalwaysfollowsheradvices．Sheisatadominantposition．Therefore，wecallregardherasadefenderoffeminismandawarrioragainstthepatriarchalsociety，too．Inaddition，Reganisabravepursuer．Sheisnotonlyacourageouspursuerforpowerandauthoritybutalsoforherbelovedman．Atthebeginningoftheplay，likehersisterGoneril，Reganflattersherfatherforauthorityandfortune．Asforherfather’Sknights，shealsoholdsanopposedopinion，whichisnotbeneficialfortheircontrolinherviewpoint．Asmentionedbefore，sheregardstheseknightsasathreattoherauthority．Withregardtolove，sheisevenbrave．Afterherhusband’Sdeath，shefranklyexpressesherlovetoherbelovedone，Edmund，regardlessofthetraditionrulesforwidowsinthepatriarchalsocietywhichdemandwidowstostillbehonesttotheirdeadhusband．Sheeveneagerlybegshimtorefusehersister’Spursuingbysaying：“Inevershallendureher：dearmylord，benotfamiliarwithher．”(358)Shebravelycompeteswithhersisterforthesameman．Later,38
M．A．ThesisChapter1ImagesofAngelandMonsterinKingLearsheevenclaimsthatEdmundisherlordandmasterinpublic，fromwhichwecansenseherbravenessandcourageinthepursuingoflove．Allinall，thefemaleimagesinKingLear，nomattertheangellikeCordeliaorthemonsterssuchasGonerilandRegan，areallthedistortionandconstraintofwomentosomeextentaccordingtoGilbertandGubar．Intheportrayingofthefemaleimages，thisplayembodiesthepatriarchalfeatures．AnditalsoshowsShakespeare’Sviewonwomen．Asamanlivinginthepatriarchalworld，ShakespearecannotjumpoutofthatenvironmentandhisviewonwomenarenearlythesameastheChristianviewonwomen．TheBibledefinitelyexpressestheChristianviewonwomenasfollowing：Sothattheymayencouragetheyoungwomentolovetheirhusbands，tolovetheirchildren，tobeself-controlled，chaste，goodmanagersofthehousehold，kind，beingsubmissivetotheirhusbands，SOthatthewordofGodmaynotbediscredited．’’(Titus2：4-5)ThiskindofviewcanbeseeninShakespearetoo．Womenwhocansatisfymen’sexpectationsofidealwomenaredescribedastheangel．Otherwise，theyarethemonsters．ItisinevitabletoreflectShakespeare’SmaleconsciousnessanddiscriminationoffemaleinthedescriptionsofthefemalecharactersinKingLear．Thisalsoreflectsthedeep—rooteddiscriminationand39
M．A．ThesisChapter1ImagesofAngelandMonsterin蔚馏Learbelittlementofwomeninthemalecenteredpatriarchalsociety．
M．A．ThesisChapter2ImagesofAngelandMonsterinHamletChapter2ImagesofAngelandMonsterinHamletAsanotherofShakespeare’Sfourgreatesttragedieswhichwascreatedaround1601，Hamletisusuallyregardedasoneofhismostpopularplaysonthestage．ThisplaytellstherevengestoryoftheprinceofDenmark，Hamlet．ItisinthisbookthatShakespearewritesoneofhisfamoussentences：“Frailty，thynameiswoman’’(28)，whicharousesmanyfeminists’interests．AsGilbertandGubarmentionedinTheMadwomanintheAttic，femaleimagesinmale．authoredliteraryworkshavebeenmainlystereotypedintotwoextremes：angelsandmonsters．Theyindicatethattheidealwomanwhocansatisfymaleauthors’expectationsisalwaysbeportrayedasanangel．Otherwise，thewomanisshapedasamonster．Hamlettellsasimilarstory．Thusthetheoryofangelandmonsterispropertobeusedtoanalyzethefemalecharactersinthisplay．OpheliaandGertrudearethetwomainfemalecharactersinHamlet．OpheliaistraditionallyregardedasanangelwhileGertrudethemonsterinthepatriarchalsociety．Thischapterwillanalyzethetwocharacterstoshowtheirangelordevilfeatures．However’whatareOphelia’StruecharactersunderthemaskofangelandGertrudearealmonster?Theauthorofthisthesisalsoaimsatuncoveringtheirangelormonstermasksandthenfurtherrevealstheirfatesinthe41
M．A．ThesisChapter2ImagesofAngelandMonsterinHamletpatriarchalsocietyinafeministperspectiveinthischapter．2．1TheImagesofOpheliaandGertrudeViewedasaminorcharacter，Opheliaappearsjustin5scenes--ActI,SceneIII；ActII，SceneI；ActIII，SceneI，II；ActIV，SceneV—-withnomorethan150linesinHamlet．However，theselinesareenoughtodrawavividpictureofherbeforeUS．TherearemanysimilaritiesbetweenthetraditionalwomeninChinaandOphelia，oneofwhichistheabsoluteobediencetotheirfatherandbrother．Shesubmissivelyacceptsanyordermadebyherfatherandbrother．Thisgentlegirljustbearsallthemiseriessilentlywithoutanygrumbleorrevolt．Sheshowslittlejoyorgriefintheplay．Besides，loveisimportanttoher，completewithherloverforherfather，loverandbrother．OnthecontrarysideofOphelia，GertrudeisafamousmonsterinShakespeare’Splays．Asanotherminorcharacterinthisplay,Gertrudejustappearsintenscenes(ActI，SceneII；ActII，SceneII；ActIII，SceneI，II，IV；ActIV,SceneI，V,VII；ActVSceneI，II)．Inthemorethan4000linesinHamlet，herwordsarenomorethan160lines．However,thesewordsexhibitavividimageofamonsterinamale-centeredsociety．Withinjusttwomonthsofherex-husband’Sdeath，GertrudebecomesthenewqueenofClaudiusfeelingateaseandjustified．Thoughshehasnoambitioninpower,shejustswimswiththetide．Alltheseearnaneviltitleforher．Theirfeaturesofangelormonster42
M．A．ThesisChapter2ImagesofAngelandMonsterinHamletwillbestudiedindetailsinthispart．2．1．1Ophelia：AsubmissiveandSilentAngelwithLoveForyears，Opheliaissaidtobetherepresentativeofgoodwomen．Forexample，AnnaJamesonhasoncecommentedthatinOphelia，“ShakespearehasshownUStheseelementalfemininequalities，modesty，graceandtendemess．"(134)Opheliaisthencalledanangelinthemale—centeredsociety．Theforemostangelicfeatureishersubmission．TherearemanysimilaritiesbetweenthetraditionalChinesewomenandher，themostimportantoneofwhichiStheunconditionalobediencetotheirfarther，brotherandhusband．Inthisplay，wecanfigureoutthatOpheliahasanextremelyrespectfulattitudetowardsherfatherandbrotherwhichleadstoherabsolutesubmission．Thiscanbecertifiedbyherdialoguewithherfatherattheverybeginningoftheplay：Polonius：1wouldnot，inplainterms，fromthistimeforth，HaveyouSOslanderanymomentleisureAstogivewordsortalkwiththeLordHamlet．Lookto’t，Ichargeyou；comeyourways．Ophelia：Ishallobey，mylord．(44)4Inthisdialogue，PoloniusinsiststhatHamlet’Slovewillextinctsoonand43
M．A．ThesisChapter2ImagesofAngelandMonsterinHamletisjustapassionateprincewhowon’ttreathisdaughtertruly．Thusheroughlyrestrictshisdaughterfromtalkingevenmeetingwiththeprince．However，OpheliaherselfbelievesinHamlet’Swords：“Mylord，hehathimportunedmewithloveinhonorablefashion．’’‘‘Andhathgivencountenancetohisspeech，mylord．"(42)ShebelievesthatHamlet’Sloveis‘sincereanditisnothardforUStofeelherfavorableimpressionontheprincefromherwords．Nevertheless，shesubmissivelyandsilentlyobeysherfather’Sorderregardlessofherownfeelings．Butlater，whenherfatheraskshertospythereasonofHamlet’Smadnessandthenletherpositivelymeettheprince，shealsoagreesimmediatelywithoutanydoubts．Sheisnotonlysubmissivetoherfather，butalsotoherbrother．WhenherbrotherbelittlesHamlet’SloveandthenaskshertobeawayfromHamletbysaying：“Fearit，Ophelia，fearit，mydearsister；Andkeepyouintherearofyouraffection，outoftheshotanddangerofdesire．”(38)Opheliaalsoobeysthisorderundoubtedly：“Ishallth’effectofthisgoodlessonkeep，aswatchmantomyheart．’’‘‘’Tisinmymemorylock’d，andyouyourselfshallkeepthekeyofit．’’(38)Sheacceptshisbrother’Swordswithoutaskingwhy．Shejustblindlyregardshiswordsasa“goodlesson"．Inherheart，theordersofherfatherandbrotheraremuchmoreimportantthanherownfeelings．GilbertandGubarsayinTheMadwomanintheAtticthatanangelisusuallyobedient，and“Whethershebecomesanobjetd’artorasaint，however,itisthesurrenderofhersel卜-Ofherpersonalcomfort，herpersonaldesiresorboth--thatisthebeautifulangel—woman’Skey
M．A．ThesisChapter2ImagesofAngelandMonsterinHamle——tact．’’(25)SowecansaythatOphelia’Sobediencetoherfatherandbrotheristhesurrenderofherownfeelingandlove．Sheisshelteredbyherbrotherandfatherfromtheoutsideworldandjustunconditionallyobeystheirorders，whichisproperandcustomaryatthattimeinamale-centeredworld，justasCarolynsuggestedoncethat：‘‘thestoriesofwomenarethestoriesofacceptanceandpassivity．"(139)Thisobediencemakeshertheangelinthepatriarchalworld．SilenceisOphelia’Sanothervirtue．TheBiblesays：“Thefoolishwomanisloud；sheisignorantandknowsnothing．"(Proverbs9：13)Subsequently，silenceisregardedasthevirtueandgracefulactionoffemale．Therefore，asthe“other'’，agoodwomanshouldbesilent．Inthisplay，Opheliaissilentasalistenerallthroughit．Wecanseehersilenceinthefollowingdialogue：Polonius：DonotbelievehisVOWS，fortheyarebrokers，Notofthatdyewhichtheirinvestmentsshow，Butmereimploratorsofuunholysuits，Breathinglikesanctifiedandpiousbawds，Thebettertobeguile．Ophelia：Ishallobey，mylord．(44)WhenherfatherusessuchharshwordstodescribeHamlet’Slove，Ophelia45
M．A．ThesisChapter2ImagesofAngelandMonsterinHamletshowsnoindignationorrefutationthoughwecaninferthatshelovesHamletandbelievesinhisloveandsweetwords．Sheonlysilentlyacceptsand“obeys”thewords。HersilenceshowsalsoobviouslywhenHamletinsultsher：Hamlet：Ifthoudostmarry，I'llgivetheethisplagueforthydowry：bethouaschasteasice，aspureassnow，thoushaltnotescapecalumny．Gettheetoanuunery，go；farewell．Ophelia：Oheavenlypowers，restorehim!(128)Facedwiththiscursefromherbelovedman，OpheliaisstillsilentandjusthopesHamletcouldberestored．WhenabandonedandcursedbyHamlet，shedoesn’texpressanyresentment．Inthewholeplay，weseldomseegreatjoyor面efinher．Andhersentencesareusuallyveryshortaswecanseefromtheaboveexamples．ThelongestonebeforesheismadappearsinActII，Scene1whenshedescribesthemadnessofHamlet．SheneverexpressesmuchofherownfeelingsorideaslikeHamletorothermales．Sheisjustasilentlambwhotacitumlybearsallthesorrowsinherlifewhicheventuallyleadstohermadnessanddeath．However，thissilenceisanotherreasonforherangelicimage．Furthermore，herinnocentloveisalsoanangelicfeature．Thoughbeing
M．A．ThesisChapter2ImagesofAngelandMonsterinHamletforbiddenbyherfatherfromcontactingwithHamlet，itisnothardforthereaderstofigureoutOphelia’Slovefortheprincefromherpraiseofhim：Thecourtier’S，soldier’S，scholar’S，eye，tongue，sword；Theexpectancyandroseofthefairstate，Theglassoffashionandthemouldofform，Theobserv’dofallobservers．(128-130)FromthesewordswecanseethatHamletisaperfectmaninhermind．Heisnotonlysmartbutalsobraveforhehastheexcellenteye，tongueandsword．HerpraisesmakeHamletthemodelofman．TheimageofHamletwillnotbesuchoutstandingbutforthefunctionoflove．Thoughtheprincehassaid“Ilovedyounot"(128)，Opheliastillpraisehimandbegs“O!helphim，yousweetheavens!”and“Oheavenlypowers，restorehim!"(128)．ShelovesthemannomatterhowhetreatsherandnomatterwhathisconditioniS．WhensheknowsthatHamletismad，shesays：“AndI，ofladiesmostdejectandwretched[⋯】O!woeisme．"(130)Shetrulyfeelspainfulforhismadness．Itislovethatgivesherthepain．Shehastheconstantandunchangeablelovefortheman．Insummary，Opheliahastheangelicfeaturessuchassubmission，silence，whicharepraisedhighlybymen，thus，itisundeniableintheireyesthatsheisagoodangelandtheiridealfemale．47
2．1．2Gertrude：ARuthlessandViciousWantonTobeginwith，GertrudeisafamouswantoninShakespeare’Splays．Itisthemoralstandardforawidowinthepatriarchalsocietythatsheshouldn’tmarryagain．ThisstandardhasbeenmentionedintheBibleformanytimes．InLeviticus，awidowissomewhatatthesamestatusofadefiledwoman：“Awidow,oradivorcedwomarl，orawomanwhohasbeendefiled，aprostitute，theseheshallnotmarry．"(Leviticus21：14)ThereisasimilaradmonitioninEzekiel：“Theyshallnotmarryawidow,oradivorcedwoman．"(Ezekiel44：22)Besides，theTimothydeclares：“Letawidowbeputonthelistifsheisnotlessthansixtyyearsoldandhasbeenmarriedonlyonce．"(Timothy5：9)Asaresult，ifawidowmarriesagain，sheisalwayscalledawanton．Inthissense，Gertrudeisawantonforshemarriesthebrotherofherex—husbandmonthsafterherex．husband’Sdeathasthenewkingdeclares：Thereforeoursometimesister,nowourqueen，Theimperialjointressofthiswar-likestate，Havewe，as’twerewithadefeatedjoy,Withoneauspiciousandonedroppingeye，Withmirthinfuneralandwithdirgeinmarriage，Inequalscaleweighingdelightanddole，Takentowife．(18)
M．A．ThesisChapter2ImagesofAngelandMonsterinHamletShemarriesagainjusttwomonthsafterherex—husband’Sfuneral，letalonehernewhusbandiSthemurdererofherex．husband．Thetimebetweenherhusband’SdeathandhernewmarriageisSOshortthatpeoplemayevenguesswhethertheyhavecommittedadulterybefore．ItisnotacceptableforawidowtomalTyagain，whichisshowedclearlybyHamlet’Sintenserebukeagainsthismother：MakesmarriageVOWSAsfalseasdicers’oaths．0，suchadeedAsfromthebodyofcontractionplucksTheverysoul，andsweetreligionmakesArhapsodyofwords!Heaven’Sfacedothglow；(172)Fromhisroughwordswecanfigurethathefeelsshametobethesonofsuchabadwoman．Herremarriagehorrifieshimalot，whichleadstohisblindinsultsofOpheliainActIII，SceneI．ToHamlet，ifawidowmarriesagain，thensheisnolongerpureandinnocent．Itisthebetrayaltoherprevioushusbandandaviolationtothereligion．Heevengiveshisopiniononthisthroughthemouseof‘‘themobledqueen’’：‘‘Insecondhusbandletmebeaccurst；nonewedthesecondbutwhokill’dthefirst．"(146)Agoodwoman49
M．A．ThesisChapter2ImagesofAngelandMonsterinHamletshouldnevermarrytwice．Andherewecanseethatheevensuspectsthatitishismotherwhohelpedkillhisfather．Eventhequeenherselfregardsherremarriageasasindeepdown：OHamlet!Speaknomore；Thouturn’stmineeyesintomyverysoul；AndthereIseemuchblackandgrainedspotsAswillnotleavetheirtinct．(176)Inthequeen’Sinnerheart，shealsoregardshermarringtoanotherasaspotforsheherselfknowswellthatitisnotacceptableforagoodwomantomarrytwiceatthattime．Inaddition，itisevenworseforamiddle-agedwidowtOmarryagaintoHamlet：“Foratyouragethehey-dayinthebloodistame，it’Shumble．’’“Rebellioushell，ifthoucanstmutinyinamatron’Sbones，toflamingyouthletvirtuebeaswax，andmeltinherownfire．"(174—176)Hebelievesthatamiddle—agedmatronshouldhavenopassionanditisavirtueforwomantojustmalTyonceinthelifetime．Inapatriarchalsociety，agoodwomanshouldfulfillherpromiseofloveandmarriagethroughoutherlife．Bradleyoncesaid：“shediesabeaerwomanthanshehadlived．"(123)AsGertrudeisstillaliveandevenmarriedagaininashorttime，itisundeniableforhertobeawantonatthattime．RuthlessnessiSanothermonstrousfeatureforGertrude．Herruthless50
M．A．ThesisChapter2ImagesofAngelandMonsterinHamlettowardsherprevioushusbandcanbeseenclearlybyherwordstowardsherSOn：GoodHamlet，castthyknightedcolouroff,AndletthineeyelooklikeafriendonDenmark．DonotforeverwiththyvailedlidsSeekforthynoblefatherinthedust：Thouknow’st’tiscommon；allthatlivemustdie，Passingthroughnaturetoeternity．(22)Justtwomonthsaiderherhusband’Sdeath，Gertrudeshowsnosorrowforhimherself．Andsheevenaskshersontoforgetthesorrowanddon’tweardarkclothesforthedead．Itisreallyquickforhertogetthroughthegriefinthepast．HerruthlesstoHamlet’SfathercanalsobeseenfromHamlet’Saccusingwords：Frailty,thynameiswoman!Alittlemonth；orerethoseshoeswereoldWithwhichshefollow’dmypoorfather’Sbody,LikeNiobe，alltears；whyshe，evenshe，一OGodlAbeast，thatwantsdiscourseofreason，Wouldhavemourn’dlonger．(28)51
ItisherethatHamletcriesoutthefamoussentence‘‘Frailty,thynameiswoman!”InHamlet’Smindatthattime，itisfrailtythatleadstohismother’Sremarriage．ButitisSOquickforthequeentogointoanothermarriagethattheremarriagearousesHamlet’Shatredandmakeshimsuspecthismother’Sloveforhisfather．Onlyinmorethanonemonth’Stime，thequeenstopsmourningforthepreviousking，whichmakesothersdoubtwhetherthetearsandsorrowforthemanistrue．ThisreinforcesGertrude’Simageofamonster．Atlast，viciousnessisalsocanbeseeninGertrude．Ashesuspectsthathismotherhashelpedthenewkingmurderhisfather,Hamletcriesout‘‘Omostperniciouswoman!’’(60)afterhisfathertoldhimtheprocessofthemurder．ThoughGertrudeistoldthatthenewkingisamurder,shestilltrieshardtodefendhimwhenLaertesquestionsreasonforhisfather’Sdeath．Sheisthefirsttoclaimthat“Butnotbyhim．"(214)Itisviciousforhertodefendforamurderer．Tosumup，inatraditionalmale-centeredsociety,Gertrudeisarealwantonasaremarriedwidow．Besides，herruthlessandviciousalsocontributetoherimageofamonster．However'herdeeploveforHamletisalwaysignoredbypeople．Issheamonsteroragoodmother?Ontheotherside，istheangelintheplay．一Ophelia-ahappyangel?Whatisherrealfaceunderthisangelicmask?Inthefollowingpart，theauthorofthisthesisaimsattherebuildingoftheirimages．52
M．A．ThesisChapter2ImagesofAngelandMonsterinHamlet2．2ReconstructionoftheTwoFemaleImagesThoughperceivedasanangel，Opheliaendsupasavictimoftheschemesinthepalace．Ontheotherhand，asamonster,Gertrudeisagoodbutweakmother．Sheloveshersondeeply．Facingwiththerebukesfromherson，shefeelspainful．Inthefollowingpart，theauthorofthisthesiswillputeffortsforthtorevealOphelia’SrealnatureunderthemaskofangelandrebuildGertrude’Simage．2．2．1OpheliaasaVictimundertheMaskofAngelAsamatteroffact，Ophelia，theangel，isnottreatedasarealhumanbeingbythemalesintheplayandsheisobjectifiedbymen．AsHamletreferstoJephthahintheBibleinActII，SceneII，oneCaneasilyfindoutthatOpheliahasSOmuchincommonwithJephthah’Sdaughter．AswrittenintheBible，beforethewaragainstAmmonites，JephthahvowedtotheLordsincerelybysaying：IfyouwillgivetheAmmonitesintomyhand，thenwhoevercomesoutofthedoorsofmyhousetomeetme，whenIreturnvictoriousfromtheAmmonites，shallbetheLord’S，tobeofferedupbymeasaburntoffering．(Judges11：30-31)53
M．A．ThesisChapter2ImagesofAngelandMonsterinHamletHowever，hisonlyvirgindaughteristhefirsttocomeoutfromthehouseafterhistriumph．Unfortunately，thisunnamedgirlwassacrificedbyherfathertothegodjustforherfather’Spersonalgain．Shewasregardedasthepossessionofherfather．SheevenhasnonameintheBibleforitisnotnecessaryforanobjecttohaveaname．AstheBibleinfers，girlsbelongtotheirfatherasmen’sfortunebeforetheygetmarriedtoanotherman．MiekealsofiguresoutthatvirginsareplacedinapredicamentastheyhavenostatussymbolinthesocietybeforetheirmarriageinVirginityandEntanglement．(56)OpheliasharesalotwiththatunnamedgirlintheBible．Shetooisregardedasthepossessionofherfather．Thisismadeclearbyherfather’Swords：“Ihaveadaughter(havewhilesheismine)，Whoinherdutyandobedience，mark，hathgivenmethis．"(84)Poloniusclaimshissovereigntyoverhisdaughternaturally，whichistakenforgrantedatthattimeinthemale-centeredworld．Ashispossession，Opheliahastobeobedienttohimandsheshouldn’thaveanysecretorprivacy．ItisherdutytogivethelovelettertoherfatherinPolonius’Smind．Furthermore，Opheliaisevenakindofgoodstoherfather．Poloniuswainshisdaughterbysaying：“Fromthistime，besomewhatscanterofyourmaidenpresence；Setyourentreatmentsatahigherratethanacommandtoparley．"(42)HerePoloniusdemandshertosether“entreatmentsatahigherrate"justastreatsakindofgoods．Hejustwantsherdaughtertobethebettergoodstogetabetter“price”．Later，Opheliaisevenusedasaspyby
M．A．ThesisChapter2ImagesofAngelandMonsterinHamletherfatherandtheking．AfterthekingknowsHamlet’SloveforOphelia，theysendOpheliatospytherealreasonofHamlet’Smadness：ForwehavecloselysentforHamlethither,Thathe，as’twerebyaccident，mayhereAffrontOphelia．Herfatherandmyself,lawfulespials，WillSObestowourselves，that，seeing，unseen，Wemayoftheirencounterfranklyjudge．(120)ThekingandPoloniusjustwanttoprobeintothereasonofHamlet’SmadnessbyarrangingOpheliatomeetHamletwithoutreckoningonOphelia’Swill．TheyneverconsidertheresultofOpheliaiftheprincediscoversthatsheisaspy．ToPolonius，hisdaughterandheraffectionarejustgoodimplementstoke印hispoliticpositionandtofulfillhisownambition．ThuswecanconcludethatjustastheunnamedgirlintheBible，Opheliaismerelyconsideredtobeherfather’Spossessionandhasnostatusandpersonalwillata11．Besidesbeingobjectified，Opheliaisanangelwithoutherownstoryandthepowerofspeech．GilbertandGubarcommentonMakarie5asfollowing：Shehasnostoryofherownbutgives‘‘adviceandconsolation’’toothers，listens，smiles，sympathizes：suchcharacteristicsshowthat55
M．A．ThesisChapter2ImagesofAngelandMonsterinHamletMakarieisnotonlythedescendentofWesternculture’ScloisteredvirginsbutalsothedirectancestressofCoventryPatmore’Sangelinthehouse．(22)Intheiropinion，agoodwoman，theangelinthepatriarchalworldusuallyhasnostoryofherownandnorighttodiscourse．Awomanalwaysactsasthelistenerinsteadofspeaker．Opheliatellsnodifferentstory．Sheisjustalistener．XieLinjingclaimsatthebeginningofherthesisthat“OpheliaandDesdemonaarebothpitifulfemalecharactersandvictimsinthepatriarchalsocietywhoacceptobedienceandsilenceasthepatriarchalconceptionoffemininity．’’(11)Atthebeginningoftheplay，bothherbrotherandfatheraskhertobeawayfromHamletandeachgivesalessontoheraswehavementionedbefore．TheonlythingsheCanandshoulddoistolistenandobey．Shedoesn’thaveherownopinionasshesays：“Idonotknow，mylord，whatIshouldthink．”(42)whenherfatherasksherwhethershebelievesinHamlet．Insuchasociety，womendonotneedtheirownopinionfortheyjustshouldlistentomen．AsDeborahL．Madsenoncesaid，intheeyesofChristians，especiallyPuritans，theinferiorityofwomenwasamarkoforiginalsin，manifestinphysicalweakness，smallerstatureandintellectuallimitations．Thuswomenshouldbe“insubjectiontoherhusband’Sauthority．”(2)Inthemale-centeredworld，womenarethoughttobeinferiortomenthereforetheyshouldbeinsubjectiontomen．InShowalter’Smind，“Deprivedofthought，56
M．A．ThesisChapter2ImagesofAngelandMonsterinHamletsexuality，language，Ophelia’SstorybecomesthestoryofO．thezero．’’(3)6ThereforewecanseethatOpheliaisjustadominatedgirlwithoutherownthoughtsandwordsactingasapuppetofmen：herfather，brother，loverand一一一，theking．Furthermore，Opheliaactsasascapegoatinthisplay．Hamlet’Sloveforherextinguishesnotforhersake．Aftertheprincegotthetruthofhisfather’Sdeath，hismother’Sremarriagehorrifieshimalot．HamletbeginstoblindlyhateallwomenincludinghismotherGertrudeandOphelia．Thus“thevirginalOpheliaisrejectedasanotherpotentialwhoreandbreederofsinner'’，saidbyT．Mcalindon．(122)ThoughhestillbelievesinOphelia’Spurity，HamletfiercelyattacksOpheliabysaying：“Youjig，youamble，andyoulisp，andnicknameGod’Screatures，andmakeyourwantonnessyourignorance．"(128)InHamlet’Sheart，everywomanisawantonlikehermother．Itishismotherwhodestroyshisbeliefinlove．However，OpheliaistherealvictimofthisassheisinsultedandabandonedbyHamlet．Allinall，despitetheangelicfeaturesjustassubmissionandsilence，Opheliaistrulyavictimofthepatriarchalsociety．Sheisjustthesilentpossessionofherfatherandshouldbeinsubjectiontomenwithoutherownvoiceandstory．Beingcaughtamongtheconflictingdesiresofmen，suchasherfather，lover，brother，andeventheking，theonlyfateofthispoorgirlismadnessanddeath．Eventheangelicfemaleenjoysnogoodendinginthisplay，letalonethemonsterimageinit．57
2．2．2GertrudeundertheMaskofMonster：AGoodMotherandaVictimThoughperceivedasamonsterbymenforsheisaremarriedwidow,therestillarescholarswhodefendher．Forexample，RichardCorumrepresentsthetrendofcallingfordefendingherinhisUnderstandingHamlet．Thoughhedoesn’tagreewithGertrude’Sremarriage，Bradleystilldefendsherbywritingthatthequeenis“notabad-heartedwoman，notatallthewomantothinklittleofmurder．"(123)Indeed，sheisnotabadwoman．Gertrudehasmultipleidentitiesinthisplay,suchasqueen，woman，andwidow．Butfirstofall，sheisamother．TherearefiveactsinallinHamlet，andineveryactthereisthesilhouetteofagoodmother．Inthefirstact，shebegshersontostaybysaying：“Ipraythee，staywithus．"(26)Asacommonmother,shejustwantstobewithhersonlonger．Inthenextact，sheasksherson’StwofriendstohelpherfindoutthereasonforHamlet’Soddactions．Inthethirdact，shesincerelywishesthatOpheliacanbringhappinesstoherson：Ophelia，IdowishThatyourgoodbeautiesbethehappycauseOfHamlet’Swildness；SOshallIhopeyourvirtuesWillbringhimtohiswontedwayagainTobothyourhonours．(120)
M．A．ThesisChapter2ImagesofAngelandMonsterinHamletFacingwiththebelovedgirlofherson，sheshowshergenuineblessing．Sheeagerlyhopesthatherlovecanhelphersonrestore．Thelovetohersonispresentedapparently．Inthefourthact，shetrieshardtoexculpatehersonbydeceivingtheking．Itisinthelastactthatherloveforhersonisexpressedthoroughly．SheUSeSherlifetosaveherson．AssheknowsthatthekingwantstokillHamletbythepoisonedwineandshehasnowaytostopthis，drinkingitherselfbecomestheonlywaytosaveherson’Slife．Justbeforeshechoosestodeath，shetakesagoodcareofHamlet：“Here，Hamlet，takemynapkin，rubthybrows；Thequeencarousestothyfortune，Hamlet．”(278)ThoughHamletisoldenoughtotakecareofhimself,shestillcarefullylooksafterhimjustasrubbingsweatforhim．Shefulfillsamother’Sdutytillherdeath．Wecaninferthatsheknowsthatthewineispoisonousfromherdialoguewiththeking：“King：Gertrude，donotdrink．／Queen：1will，mylord；Iprayyou，pardonme．”(278)Evenwhenthekingtellshernottodrinkthewine，sheinsiststodrinkitandbegsforhispardon．Theonlyexplanationforheractionisthatsheknowsthetruthandchoosestodrinkthepoisonedwineforherson．ThuswecansafelyreachtheconclusionthatsheisagoodmotherwhoCanevensacrificeherownlifetosaveherson’Slifethoughhersonusestoughwordstoinsultherforherremarriage．Here，wecanseenosignofamonsterbutathoroughlydevotedgoodmother．Besidesthis，Gertrudeisinfactavictimofthepatriarchalsociety．GilbertandGubarwritein刀妊MadwomanintheAtt／cthat：59
M．A．ThesisChapter2ImagesofAngelandMonsterinHamletWomeninpatriarchalsocietieshavehistoricallybeenreducedtomereproperties，tocharactersandimagesimprisonedinmaletextsbecausegenerated，solely,as．AnneElliotandAnneFinchobserve，bymaleexpectationsanddesigns．(12)Thoughsheisthequeenofthecountry,Gertrudeisstilltreatedbymenas“mereproperties"．Evidencecouldbeseeninthefirstact：“ThuswasI，sleeping，byabrother’Shand，oflife，ofcrown，ofqueen，atoncedispatch’d．”(58)．WhentheGhosttellsHamlettheprocessofthemurder,heputsthequeenafterhiscrown．Inhiseyes，thequeenisalsoapropertyofhimjustashiscrown．Andeventhecrownismoreimportantthanher．Besides，oneofthereasonsforhisangeragainstGertrude’Sremarriageisthatheholdsthatthequeenisoneofhispossessionswhichshould’tbestolenbyothers．Hisopinionistakenforgrantedatthattime．Thenewkingthinksthesame"‘‘SinceIamstillpossess’dofthoseeffectsforwhichIdidthemurder,mycrown，mineownambition，andmyqueen．"(164)Thequeenisregardedasoneofhismurder’Strophies．Andhealsoplaceshiscrownandambitionatapriorposition．Thepoorwomanisobjectified．Womenareregardedasthepossessionandareinferiortomeninpeople’Smindsinamale—dominatedsociety．Thisisarealdiscrimination．Asbeingobjectified，Gertrudelosesthepowerofspeech．Aswehavementionedbefore，herlinesarelessthan160．
M．A．ThesisChapter2ImagesofAngelandMonsterinHamletButherlackingofpowerofspeechismainlyshownbythelackofself-consciousness．Herimageintheplayischieflyestablishedbytherevilementsofherson．HamletusessharpwordstorevilehismotherformanytimesinActIandIII．However,fromtheirdialogue，wecarlfigureoutthatGertrudejustgivestacitconsenttoherson’Sinsultsandevenfeelsashamed．WhenHamletinsultsherbysaying：‘‘buttoliveintheranksweatofanenseamedbed，Stew’dincorruption，honeyingandmakingloveoverthenastysty!"(176)，wecannotfeeltheleastrespectandlovethatasonshouldshowtohismother．However,Gertrudejustbegshimtostopandfeelsabashed：0Hamlet!Speaknomore；Thouturn’stmineeyesintomyverysoul；AndthereIseemuchblackandgrainedspotsAswillnotleavetheirtinct．(176)SheneverdefendsherselforrebukeshimasamotherwhenfacedwimHamlet’Scensuresnomatterhowtoughlythewordsare．Shetotallyacknowledgedallthesinsimposedonherbyherson．Shehasnoself-consciousnessandpowerofspeechata11．Furthermore，Gertrudeisalsothescapegoatofman’Sevil．InActI，aftertheGhosthasmadecleartheprocessofthemurder,Hamletcallshismotherthe“mostperniciouswoman’’，however,theGhostjustshowsthatClaudius，
M．A．ThesisChapter2ImagesofAngelandM0nSte!!旦笪婴!型thenewkingisthemurderer：“ThuswasI，sleeping，byabrother’Shand，oflife，ofcrown，ofqueen，atoncedispatch’d．"(58)ThereisnoevidencetoshowthatthequeenisinvolvedinthemurderandeventheGhosthadneveraccusedherformurdering．WhydoesHamletshoutout“perniciouswoman’’insteadof‘‘perniciousman"?ItisClaudius，themanthatdoestheevil，howcanthemaleimposedthesinonawoman?Insuchamale-centeredsociety,itisusuallythewomanwhoisthoughttobeblamedevenwhenthemanisreallytheevildoer．Itisobviousthatthepoorwomanisjustascapegoatofman’sevil．Allinall，wecanseethatthestatusoffemaleinShakespeare’Smindisverylowaccordingtothepreviousanalysisofthefemalecharactersinhisplay．FemalesshouldactaccordingtotherulessetforthembythepatriarchalsocietyjustasdescribedbyGilbertandGubarinTheMadwomanintheAtticthatladieswereassuredbythemalewritersthat‘‘therearerulesforallouractions，evendowntosleepingwithagoodgrace．"(25)Agoodwomanshouldobeyalltheserules．Anangelis“notassheisbutasshefillshis(themaleartist’S')dreams．"(18)Thusonthecontrary,themonsteristhewomanwhocannotfillthemaleartist’Sdreams．Thereisneitherrealangelnormonsterintheworld．Asmentionedbefore，bothOpheliaandGertrude，theangelandthemonsteLareobjectifiedbymen．Theyarebothperceivedasthepropertyofmanandthuslosetheirpowerofspeech．Besides，theyareboththevictimsofthemale．centeredsociety．Underthewantonimage，wecanseeagoodmother62
inGertrude．Afterthepreviousdiscussion，wecansafelycometotheconclusionthat，thoughagreatdramatist，Shakespearedidn’tgetridoftheparochialmale—dominatednotions，thefemaleimagesHamlet,angelormonster,areallthevictimsthepatriarchalsociety．Theyarethedistortionofwomenandshowthediscriminationtowomenthepatriarchalsocieties．
M．A．ThesisChapter3ImagesofAngelandMonsterinTheTamingoftheShrewChapter3ImagesofAngelandMonsterinTheTamingoftheShrewTheTamingoftheShrewisoneofthemostfamouscomediesofShakespeare．Ittellsastoryabouttheprocessofthetamingofaself-consciouswomanfollowingthethreadsofKatherinasisters’differentmarriagesinapatriarchalsociety．Thisplayarousesalotofcriticisms．Manyfeministsespeciallyattacktheplaybysaying：‘‘oneevilinsulttowomanhoodandmanhoodfromthefirstwordtothelast．"ItpropagatesthefixedmoralrulesforwomeninthepatriarchalsocietyinwhichfeeblenessiSthefeatureofwomenandsubmissioniSthevirtueoffemale．Thisisemergedthoroughlyintheplotandthedevelopmentofthecharacters’fates．Thetwomainheroinesinthisplayhavetotallydifferentcharacters．Katherinaisportrayedasashrewsuchasthemonster，whilehersisterBiancaisdescribedasawonderfulgirlwhoistheangel。GilbertandGubarclaimintheirbook：‘‘womanhasbeenmadetorepresentallofman’sambivalentfeelings．’’(34)Andintheiropinion，thethoroughlyoppositeimagesofangelandmonsterareboththedistortionofwomen．Thereby，thetheoryofangelandmonsterispropertobeusedtoanalyzethefemalecharactersinTheTamingoftheShrew．Inthischapter，theauthorofthisthesis
M．A．ThesisChapter3ImagesofAngelandMonsterinTheTamingoftheShrewwilllookintothetwomainfemalecharactersinthisplaymBiancaandKatherinaandtriestorevealthemaskofangelormonsterfromthem．3．1TheImagesofBiancaandKatherinaAsaminorcharacterinTheTamingoftheShrew，BiancaisatypicalgoodwomaninShakespeare’Stime．Sheenjoysherfather’Sdotageandhasmanypursuersforherdocilityandsilence．Onthesurface，sheisobedient，quiet，andbeautiful，whoisthetypicalidealgirlfortheyoungmenatthattimetopursue．Onthecontraryside，Katherinaisportrayedasanotherkindofmonster---theshrew．AmongthevariousfemaleimagesinthefamousliteraryworksinChinaandabroad，theimagesofshrewworthourattentionbutareusuallybeignored．InTheTamingoftheShrew，Shakespeareexaggeratedlyportraysashrew，Katherina．Attheverybeginningofthisplay，Katherinaisdescribedasathoroughshrewinthetraditionalsense．Sheiscrudeanddisobedientwithself-consciousness，whicharethetypicalfeaturesofmonstersinthemale-centeredworld．Inthispart，theimageofBiancaandKatherinawillbediscussedindetails．3．1．1Bianca：AnObedient，SilentandBeautifulAngelFirstandforemost，Biancaisanobedientgirl．ItiseasyforUStofigurethischaracteroutfromtheplay．Whenherfatheraskshertogetinthehouse，
M．A．ThesisChapter3ImagesofAngelandMonsterinTheTamingoftheShrewBiancashowshersubmissiveattitudebysaying：‘‘Sir,toyourpleasurehumblyIsubscribe：Mybooksandinstrumentsshallbemycompany,onthemtolookandpracticebymyself．’’(17)7Besides，shereplies：“Farewell，sweetmastersboth，Imustbegone．"(51)Whenherfathersendsthemessengertocallher．Fromherwords，wecanseethatshestrictlyobeysherfather’SorderspleasantlyandsheevenUSeStheword‘‘humbly’’and‘‘must’’．Tobeobedienttoherfatheristakenforgrantedbyher．Inherwords，wealsocanfigureoutthatsheconformstotherulesofthepatriarchalsociety．GilbertandGubarmentionintheirbookthat“fromtheeighteenthcenturyon，conductbooksforladieshadproliferated，enjoiningyounggirlstosubmissive，modesty,selflessness；remindingallwomenthattheyshouldbeangelic．”(23)Biancaobviouslyconformstotheseconducts．Besides，RachelBrownsteinsaidinBecomingaHeroinethat：‘‘abeautifulvirginwalledofffromanimperfectrealworldisthecentralfigureinromance．”(35)Here，Biancawasrestrainedbyhisfather’Sordersandmuststayindoorswiththecompanyofher“booksandinstruments’’．Wecaninferthatitisherfatherwhoaskshertoreadbooksandpracticetheinstrumentsindoors．Fromherwordswecanseethatsheisusedtothiskindofordersandpositivelyacceptsthem．JuanVivesoncewrotetohisfemalereadersandclaimedthattheywouldbetterstayathomeandshownointerestinpoliticsas“yourhouseisacitygreatenoughforyou．”(43)Asinmales’eyes，agoodgirlshouldstayinhouse．Biancatotallyconformstothisrule．Apartfromthis，herobediencealsoshowstohereldersister,which
M．A．Thesis．C．——hapt．e．．—r—3Im——agesofAngelandMonsterinTheTamingoftheShrewisshownevidentlybyherwords：“Yea，allmyraiment，tomypetticoat，orwhatyouwillcommandmewillIdo，SOwellIknowmydutytomyelders．’’(33)Itisterribleforagoodgirltotakeoffherraimentbeforeothers．ButinBianca’Smind，itismoreimportanttoobeyhereldersister’Sorders．Therefore，ifcommandedbyKatherina，shewilldothat．Sheevenconsidersthatitisherdutytobesubmissivetoherelders．Thus，hersubmissiveimageasanangelbecomesvivid．Inaddition，sheisasilentgirl．Aswehavementionedinthepreviouschapter,itisthevirtueandagracefulactionforfemalestobesilentaccordingtotheBible．Bianca’SsilencecouldbeseenfromLucentio’Swords：“Butintheother’SsilencedoIseemaid’Smildbehaviourandsobriety．"(17)Asin7’‘‘。●一Lucentlo。Sminds，silencelSviewedasanecessarycharacterofawonderfulmaid．LucentiofellinlovewithBiancathemomenthesawherwhilehesayingtheabovesentence．TherebywecanseethatsilenceisregardedasoneofBianca’Sangelicfeatures．Moreover，Bianca’Sbeautyispraisedformanytimesinthisplaybyherpursuers．Lucentiopassionatelyclaims：O，yes，Isawsweetbeautyinherface，SuchasthedaughterofAgenorhad，ThatmadegreatJovetohumblehimtoherhand．WhenwithhiskneeshekissedtheCretanstrand．67
M．A．ThesisChapter3ImagesofAngelandMonsterinTheTamingoftheShrewSacredandsweetwasallIsawinher．(20)AsoneofBianca’Spursuers，LucentiocomparesherwiththedaughterofAgenor．Europa，thedaughterofAgenor,isfamousforherbeautyandlovedbyJove，whoturnedhimselfintoabullinordertoabducther．HerewecaninferthatLucentioalsocoulddoeverythinghecantogetBiancaforherbeauty．Anotherpursuerofher,Hortensioalsopraisesherbeautybysaying：“Hehaththejewelofmylifeinhold，hisyoungestdaughter，beautifulBianca．"(27)Inhiseyes，Biancaisthepricelessjewelandthemostprecioustreasureforherbeauty．Thoughnotawooer，Tranioeulogizesherbeautytoo：‘‘FairLeda’Sdaughterhadathousandwooers，thenwellonemoremayfairBiancahave【⋯]asistheotherforbeauteousmodesty．”(31—32)TraniocompareshertoLeda’Sdaughter,whoissupposedtobethemostbeautifulwomanintheworld．Inthesemen’seyes，BiancaisSObeautifulthatsheshouldbewooed．Itiswidelyperceivedthatanangelisusuallybeautifulinmen’spensuchasJulietandMiranda．Therefore，beautyisanotherangelicfeatureofBianca．Aftertheabovediscussion，itissafetoconcludethatBiancaisperceivedasanangelbymeninthepatriarchalsocietyassheissuchallobedient，silentandbeautifulgirl．Asaresult，theangel，Biancadeservesthepursuitofmen．
M．A．ThesisChapter3ImagesofAngelandMonsterinTheTamingoftheShrew3．1．2Katherina：ARudeandDisobedientShrewAsdefinedbyGilbertandGubarintheirbook，amonsteris“amagicalcreatureofthelowerworldwhoisakindofantitheticalmirrorimageofanangel”，andshemaystands“bothunderandover(butreallysimplyoutside00thesphereofculture’Shegemony．”(28)Inthisdimension，Katherinaisathoroughmonsterassheistheantitheticalmirrorimageoftheangelinthemale．centeredworld．Firstofall，asafamousshrew,Katherinaisrudeandviolent．AsChenYingkeclaimsinherthesis，theshrew,Katherina，has‘‘anotoriousreputationamongpeoplenearandfar'’beforehermarriage．Asaresult，“noonedarestosuithereventhatsheisbeautifulandrich．"(29)Hernotoriousreputationcanbeseenhereandthereinthisplay．HortensiopointsoutKatherina’Sshrewishnessforseveraltimesinthisplay．HeoncetoldPetruchiothatKatherinais“renownedinPaduaforherscoldingtongue．”(27)Besidesthis，hefranklyshowshisdislikebysaying：Heronlyfault，andthatisfaultsenough，IsthatsheiSintolerablecurstAndshrewdandforward，SObeyondallmeasureThat，weremystatefarworserthanitis，1wouldnotwedherforamineofgold．(26)
M．A．ThesisChapter3ImagesofAngelandMonsterinTheTam．．．．．．．ingof．．．．．．．．．．t．．．．h．．．．．．．．e．．．．．．S．h．．．．．．．．r．．．．．e．．．．．．—w—HeshowshishatredtoKatherinaevidentlyjustforhershrewdwhenheintroduceshertohisfriend．HeevensaystoKatherinafacetofacethat：“Nomatesforyou，unlessyouwereofgentler，mildermould．’’(16)Inhismind，nonormalmanwillmarrysucharudewoman．Tranioisshockedbyherrudenessandscoldingattheirfirstmeetingandsays：‘‘Thatwenchisstarkmadorwonderfulforward．"(17)WhenhefindsoutthathismasterhasfalleninlovewithBianca，hetriestostophimjustforBiancahassuchashrewassister：‘‘Markedyounothowhersisterbegantoscoldandraiseupsuchastormthatmortalearsmighthardlyendurethedin?”(20)Thiswoman’Srudeactionsandshrewishnessisunacceptabletohimthushewantshismastertogiveuphislovetothiswoman’Ssister．Fromthesewords，wecanseethatKatherinareallyhasanotoriousreputation．Besides，herroughwordsalsopresentherrudenessandshrewishnessbeforeUS．ChenYingkealsorefersthis：“Intheopeningscene，shestrikesverballyatallpeople，speakingbitterlyandrudelytoeveryone，eventoherfatherandsister．”(29)Attheverybeginningoftheplay，shetoughlyinsultsthewooersofhersister：“Butifitwere，doubtnothercareshouldbetocombyournoddlewithathree—leggedstoolandpaintyourfaceanduseyoulikeaf001．”(16—17)Herwordsshowherrudenessthoroughly．IntheVictorianage，agoodwomanshouldbegentleandmildasHortensiomentionsinhiswords．Katherina，however,totallyignorestherulesforwomensetbymen．Sheshowsherdisliketothesemenfrankly．Whenshefirstmeetsheruniquewooer,Petruchio，shealsoshowsscoldingtongueby70
saying：“Assesaremadetobear,andSOareyou[⋯】IfIbewaspish，bestbewaremysting．"(40)ThoughPetruchiopraisesherandshowshisintentionofwooingher,Katherinastillgivesnogoodwordstohim．Wecannotseeanysignofgentlenessormildnessinher．Furthermore，herrudenessisshowedbyherfourviolentactionsintheplay．ThefirstviolenceappearsinActIIashersisterBiancasayssomethingthatdispleasedher,Katherinashouts：‘‘Ifthatbejest，thenalltherestwasso"andatthesametime“strikesher’．(34)ThoughBiancaactssubmissivelytoher,Katherinaisstillrudeandactviolently．Katherinatreatsmenevenworse．WhenHortensioteachesherhowtoplaytheinstruments，shehasbrokenhisheadwiththeluteasHortensiosays：Forshehathbrokethelutetome．Andwiththatword，shestruckmeonthehead，Andthroughtheinstrumentmypatemadeway,AndthereIstoodamazedforawhile，Asonapillory,lookingthroughthelute．"(38)FromthesewordswecanseethatKatherinaisaquick-temperedwomanwithrudeactions，whichisregardedasthefeaturesofamonsteratthattimeinsuchapatriarchalsociety．Besidestheseactions，shealsostrikesPetruchioinActII，SceneIandbeatsGrumioinActIV,SceneIII．Alltheseviolentactions7l
M．A．ThesisChapter3ImagesofAngelandMonsterinTheTamingoftheShrewaretheevidencesforherrudenessandshrewishness．Andthatiswhynoonedaressuither．ThebookTheMadwomanintheAtticreads：‘‘Theartsofpleasingmen，inotherwords，arenotonlyangeliccharacteristics；inmoreworldlyterms，theyaretheproperactsofalady．”(24)Katherinatotallyignorestheartsofpleasingmenandevenshowsherhatredtowardsmen．Withherrudenessandshrewishness，itisundeniablethatsheisatypicalmonsterasashrewintheeyesofmeninamale—centeredworld．Kathefina’Sdisobedienceisanotherfeatureofmonster．GuoXinyusaysinhisthesisthat：IntheRenaissanceItaly,peoplechampionedthesubmissiverolethatwomenplayedbothathomeandinthesociety．Itwasanagewhenwomen’Sfateandlifeweredecidedbythemenintheirlives．8ItiSthesocialruleforwomentobesubmissivetomen．ButonecanseenosignofsubmissioninKatherine，whichgivesthenameofmonstertoher．Herfirstdisobedienceisshowntohisfather：“ShallIbeappointedhours，asthough，belike，Iknewnotwhattotakeandwhattoleave?Ha?"(18)Shedoesn’tliketolistentohisfather’Sorderandshowsherself-consciousness．Shebelievesthatsheknowswhatshewantsandwantstodothingsatherownwill．Afterhermarriage，sheshowsmuchmoredisobediencestoherhusband．
M．A．ThesisChapter3ImagesofAngelandMonsterinTheTamingoftheShrewThefirsttimeforhertoshowherspirittoresistisatherweddingceremony：“Iseeawomanmaybemadeafool，ifshehadnotaspirittoresist．”(59)Here，Katherinaemphasizestheimportanceofaspirittoresist，especiallythespirittoresistmen’sorders．Inhermind，womenareatanequalplaceasmenthusitisnotproperforthementoorderwomen．Andshedoesasshethinksanddoesn’tobeyherhusband’Sorder．Latersheevenfranklydeclaresherrightstospeakoutherownopinions：Why,sir,ItrustImayhaveleavetospeak，Andspeak1will．Iamnochild，nobabe．Yourbettershaveenduredmesaymymind，Andifyoucannot，bestyoustopyourears．Belikeyoumeantomakeapuppetofme．(74)Sheinsistsherrightstospeakandtoshowherownopinionsasahumanbeinginsteadofapuppet．Therighttospeakbelongstoallhumanbeings，includingbothmenandwomen．However,asGilbertandGubarmentionedintheirbook，agoodwomanatthattimeinthepatriarchalsocietyshouldhas‘‘nostoryofherownbutgives‘adviceandconsolation’toothers，listens，smiles．"(22)Accordingtothisnotion，Katherinaisonthecontrarysideofanangel．Tysonsays，“Ifawomandoesnotacceptherpatriarchalgenderrole，thentheonly
M．A．ThesisChapter3ImagesofAngelandMonsterinTheTamingoftheShrewrolelefttoheristhatofamonster．”(88)Asaresult，Katherinaissuchawomanandsheisnaturallyregardedasamonster．Throughtheabovediscussion，itiseasytodefineKatherinaasamonsteraccordingtotherulesinthepatriarchalsocietyforsheissucharudeanddisobedientshrew．ButwhethersheiSarealmonsterornotandiSBiancaarealsubmissiveangel?Thesequestionswillbediscussedinthefollowingpart．3．2ReconstructionoftheTwoFemaleImagesOnthecontrarysideoftheimageofangel，Biancachoosesherbelovedbyherselfandmarrieshimsecretlywhichshowsherindependentpersonality．Wecaneasilyfigureoutthatthereisadifferentsideofthisseeminglymeekgirlinthisplay．Shereallyhassomethingincommonwithhereldersisterinthenature．Inthispart，herangelicfeaturesandtruecharactersunderthemaskofangelwillbediscussed．Yet，thereissomehiddenbitternessbehindKatherina’Sferociousface．Themaincauseofher“untamed’’figureistoprotectherownmarriagefrombeingarrangedarbitrarilybyothers．Shedoesn’twanttobeapuppetmanipulatedbyothers．Shehasthecouragetofightagainstpatriarchateandlooksforfreedomandjustice．However，itissadforUStolearnthatKatherinais“tamed”byherhusbandattheendoftheplay．Totallydifferentfromherpreviousimage，Katherinabecomesthespokeswomanofthepatriarchalsocietyatlast．Inthispart，theauthorofthisthesiswillalsotrytoreconstructtheimageofher．74
M．A．ThesisChapter3ImagesofAngelandMonsteri——nThe——Tamin——gofth．．．．e．．．Shre．．．．．．—w—3．2．1BiancawithouttheMaskofAngel：ACourageousPursuerPerceivedasanangel，Biancadoesn’thaveahighstatusinthesociety．Thoughhavingherfather’Sfavoritism，sheisstilltreatedasthepossessionofherfather．WhenthetwowooersofBianca，GremioandTranioarevyingforher,herfatherBaptistasays：‘”Tisdeedsmustwintheprize，andheofboththatCanassuremydaughtergreatestdowershallhavemyBianca’Slove．”(45)FromthesewordswecanseethatBiancaisthe‘‘prize’’inherfather’Seyes．Besides，hetotallyignoresherfeelingandlove，andheholdsthatloveismeasuredbymoney．Sohejustpromisestomarryherdaughtertothemanwhocangivethemostbetrothalswithoutaskingherdaughter’Sopinion．Heevenfixesthedateofhermarriagewithoutinformingher：‘‘NowontheSundayfollowing，shallBiancabebridetoyou，ifyoumakethisassurance．Ifnot，toSigniorGremio．"(47)Herdaughterisperceivedashisproperty．ThereforeherfatherCanmarryhertoanyoneatanytimeathiswill．Andlater,whenheheardthatherdaughterandLucentioloveeachotherverymuch，hestillputsthedowerfirst：‘‘Thatlikeafatheryouwilldealwithhimandpassmydaughterasufficientdower,thematchismadeandallisdone．"(80)．Hetreatshisdaughter’Smarriageasatrade．Hisnatureofabusinessmanisshownevidentlyasmoneyisthemostimportantthingforhim．Thuswecanconcludethatfemalesaretreatedjustasgoodsandhavenostatusinthesociety．Furthermore，oneCanseewomen’Slowstatusinthesocietyfromtheinsults75
M．A．ThesisChapter3ImagesofAngelandMonsterinTheTamingoftheShrewmadebyBianca’SotherpursuersaftertheyknewBianca’SlovetoLucentio．Traniobelievesthat：“Odespitefullove，unconstantwomankind[．．．]Fieonher!Seehowbeastlyshedothcourthim!"(68)AsBiancaacceptedLucentio，Tranioimmediatelygivesuphisloveforherandbeingstoinsulther．ItisimproperforhertochooseherloverbyherselfinTranio’Smind．Itistakenforgrantedthatthemarriageofgirlsshouldbedeterminedbytheirfather．SoTraniocallsher‘‘unconstantwomankind’’andwantsto‘‘fieonher’．ThingsarethesametoHortensio．Hesays：“Butonethatscorntoliveinthisdisguise’’and‘‘AsIhavelovedthisprouddisdainfulhaggard．’’(68-69)Inhismind，heisscornedtobeindisguisetopursueBianca．Thereforewecanseethathebelievesthatmenarepriortowomen．AndhealsoinsultsBiancabecauseshehaschosenherownbelovedandholdsthatsheis‘‘unworthyalltheformerfavours"．Fromtheabovediscussion，onecanreachtheconclusionthatwomenarebelittledinthepatriarchalsocietyastheydon’thaveanystatusorrightstomakeanydecision．Theyarejustmen’sproperties．Ontheotherhand，Biancaisabraveandself-consciouswomandeepdown．Sheisacourageouspursuerforthetrueloveandherownhappiness．Whileherfatherdecidestomarryhertothemanwhocangivethegreatestdower,BiancaherselfchoosesLucentiotobeherbelovedandevenmarrieshiminsecretasshownbyLucentio’swords：“Thathavebymarriagemadethydaughtermine，whilecounterfeitsupposesblearedthineeyne．"(88)WhileLucentiogetsamantopretendtobehisfatherandtodiscussabouttheir
M．A．ThesisChapter3ImagesofAngelandMonsterinTheTamingoftheShrewmarriagewithBianca’SfatherBaptista，LucentiomarriesBiancainthechurchsecretly．Itisunimaginableforagoodgirltochooseherhusbandherself,letalonemaltyhimwithoutinformingherfatheratthattimeinsuchapatriarchalsociety．TherebywecandefineBiancaasabravepursuer．Besides，sheisaself-consciousgirl，whichcanbeseenfromherwords：Why,gentlemen，youdomedoublewrongTostriveforthatwhichrestethinmychoice．Iamnobreechingscholarintheschools，I’11notbetiedtohoursnor’pointedtimes，ButlearnmylessonsasIpleasemyself．(48)Asastudent，shewantstochoosethelessonsandlearningtimeswhichcanpleaseher．Sherefusesmen’sarrangementsandshowsherownconsciousness．Inaddition，herself-consciousnessisexpressedobviouslywhenshecriticizeshersister¨S‘tamed"actions：“Fie!Whatafoolishdutycallyouthis?"(94)Shescornstheblindsubmissiontothehusbandandcallsit‘‘afoolishduty．’’Thiscanproveherself-consciousnessasawoman．Atlast，sheevenreprimandsherhusbandforcomplainingherbysaying：‘‘Themorefoolyouforlayingonmyduty．"(94)Shedoesn’tseetheblindsubmissiontoone’Shusbandasawoman’sdutyandsheisreallyaself-consciouswomanwithherownoptmons．
M．A．ThesisChapter3ImagesofAngelandMonsterinTheTamingofthe—S—h．re—w—Inbrief,aswehavediscussedabove，Biancaiswidelyperceivedasanangelinthepatriarchalsocietyforsheissuchasilentandbeautifulwomanwhoisobedienttoherfather，eldersisterandthemoralstandardsetbymen．Ashereldersister,Biancaalsohaslowsocialstatusasawoman．Sheisperceivedbyherfatherashispropertyandgoodswhichcanbetradeformoneyathisfather’Swill．ThoughtherearemanymenwhoWOOher,thesemenstillbelievethatmenarepriortowomenandinsultherforshechoosesherhusbandbyherself．Ontheotherhand，Biancaisinfactacourageouspursuerfortrueloveandhasherself-consciousness．Sheisarealfeministwarriorbeneathhercarefuldisguiseofanangel．3．2．2KatherinaWithouttheMaskofMonster：An0bjectifiedVictimViewedasamonsterinthemaledominatedsociety,Kathefinaistrulyavictim．Katherina’Sshrewishnessisjusttheresistancetoherfather’Sfavoritismandtheoppressioninthepatriarchalsociety．Sheistreatedunfairlybyhisfatherforherfather’Sfavoritismtowardsheryoungersisterisevidentintheplay．WhenBaptistainsultsKatherinaforherpickingonBianca，Katherinaclaimsthat：What，willyounotsufferme?Nay,nowIseeSheisyourtreasure，shemusthaveahusband，Imustdancebarefootonherweddingday,
M．A．ThesisChapter3imagesofAngelandMonsterinTheTamingoftheShrewAndforyourlovetoherleadapesinhell．Talknottome．1willgositandweepTillIcanfindoccasionofrevenge．(34)HerewecanfigureoutthatherfathertreatsBiancaasthetreasurewhileKatherineasthevaluelessone．ItiStheunfairtreatmentthatlcadstoher“revenge"andjealousnesstoBianca．Infact，sheisavulnerablegirlasshecanmerelychoosetoweepwhentreatedbadly．Herfather’ShatredtowardshercanalsobeseenfromhisscoldingtowardsKatherina：“Forshame，thouhildingofadevilishspirit．"(34)Henevershowsafather’Slovetoherandthinksitisashameforhimtohavesuchadevilishdaughterwithoutthinkingaboutthereasonforhershrewishness．HeeventellsKatherina’Swooerthat“sheisnotforyourtum"(35)andcallsher“muchmoreashrewofthyimpatienthumour"(52)becauseKatherinaistotallyabadgirlinhismindforheronlyfaul卜theshrewishness．Infact，Katherinahasmanymeritswhicharealwaysoverlooked．InHortensio’Seyes，sheisagirl“withwealthenoughandyoungandbeauteous，broughtupasbestbecomesagentlewoman．’’(26)Theseadvantagesareallignored．Inaddition，Freudbelievesthatadistortedpersonalitycanusuallybetracedbacktohis／herchildhoodexperienceforhe／shedoesn’treceiveproperlove，warmth，andsecurityfromtheirparents．(44)Accordingtohisviews，wecanimaginethatKatherina’srudenessandshrewishnessCanbetracedbacktoherfather’Sunfairtreatments．And
M．A．ThesisChapter3ImagesofAngelandM——onste———r—————i——n———————T—————h．．．e．．．．．．．T．．．a．．．．．m．．．．．．i．．．n．．．．g．．．．．．．o．．f．．．．．．．t．．h．．．．．e．．．．．．S．．．．h．．．．．r．．．e．．．—w—Katheinaisjustthevictimofherfather’Sunfairactions．Inaddition，Katherinaisalsotreatedasmen’spossessionandsheisobjectified．WangYujiepointsoutinhisthesisthatvirginstemporarilybelongtotheirfatherbeforetheyaremarriedtoanotherman．9Inthisplay，Katherinabelongstohisfatheratfirst．Herfather,Baptista，treatsherjustasgoodswhichcanbeseenfromhistalkwithothermen：“Faith，gentlemen，nowIplayamerchant’Spart，andventuremadlyonadesperatemart．”(45)Toherfather,sheisnotonlytakenasgoodsforsale，buteventheunsalablegoods．Therefore，nomatterwhoWOOSher,Baptistaagreestheirmarriageimmediatelywithoutaskingforhisdaughter’Sopinion．Beforethemarriage，Katherinashowsherdisagreementtoherfatherintenselybysaying：Callyoume‘daughter’?Now,IpromiseyouYouhaveshowedatenderfatherlyregard，Amad—capruffianandaswearingJackThatthinkswithoathstofacethematterout．(43)Wecanseefromherwordsthatthismanisnotagoodoneandsheshowsherhatredtohim．However,herfathertotallyignoresherfeelingandacceptsPetruchio：‘‘’Tisamatch．”(44)Hemerelywantstomakethedealasquicklyaspossible．Asthepossessionofherfather,KatherinaCanonlyacceptherfather’Sdecision．Themarriageisthebeginningofhertragiclife．When
M．A．ThesisChapter3ImagesofAngelandMonsterinTheT——aming——ofth—e—Shre—w—Katherina’Sproprietaryrightsisshiftedtoherhusband，sheistreatedevenworse．Petruchiodecidedtomarryherevenbeforehemeetsherbecausehejustmarriesformoneyashedeclaresatthebeginningoftheplay：AswealthisburdenofmywooingdancrBesheasfoulaswasFlorentius’love，AsoldasSibylandascurstandshrewdAsSocrates’Xanthippe，oraworse．IcometowiveitwealthilyinPadua，Ifwealthily,thenhappilyinPadua．(26)Inhiseyes，onlymoneyisthemostimportant．HehasnoaffectiontowardsKathrinaandjustmarriesformoney．Tohim，Kathrinaistheappendixofherdowry．HeimmediatelyclaimshissovereigntyoverKmhednaintheirweddingceremony：1willbemasterofwhatiSmineown：Sheismygoods，mychattels，sheismyhouse，Myhouseholdstuff,myfield，mybam，Myhorse，myOX，myass，myanything．(59)81
M．A．ThesisChapter3ImagesofAngelandMonsterinTheTamingof砌PShrewHiswordsaretheperfectrepresentationofthechauvinism．Womenareregardedasmen’spropertiesandevenequaltoanimalsinmen’sminds．Womenarebelittledthoroughlyandhavenostatusasmenaretheirmasters．ItiSthediscriminationtowardswomen．Lastbutnotleast，Katherinaisthevictimofmen’smaltreatment．ChenYingkeholdsthatthisplayshouldn’tbeacomicforthemaltreatmentpartbysaying：Shakespearedesignstheplotinsuchawaythatmodemreadersandcriticsalwaysbecomeindignantashecouldconsidersuchcruelmaltreatmentofwomankind，mostobviouslyshownonKatherina，ascomic．"(28)ThecruelmaltreatmenttowardsKatherinaisatragicmatterandmakesheravictim。Asthetitleshows，sheistamedbyherhusband．Petruchioshowstheopinionof‘‘tame’’forseveraltimesintheplaysuchas‘‘ForIamheamborntotameyou，Kate．’’And“howtame，whenmenandwomenarealone，ameacockwretchcanmakethecurstestshrew．"(43-44)Theword“tame"isdefinedinLongmanDictionaryofContemporaryEnglishasfollowing：‘‘totrainawildanimaltoobeyyouandnottoattackpeople．’，10Womenaretreatedasanimalsbymen．Evenin1663，thecourtofEnglandstillconfirmshusband’srightsofcorporalpunishmenttotheirwiveslegitimate．Besides，
M．A．ThesisChapter3ImagesofAngelandMonsterinTheTamingoftheShrewGiovanniBoccaccioclaimsinhisTheDecameronthatawifeisalwaysruledbyherhusband’Scudgel，nomatteragoodwifeorabadone．(845)Itisproperforahusbandto“tame"oreventowhiphiswifeatthattime，whichseemstobecruelnow．ThisthoughtcanalsobeseenintheBible．GodsaystoEvethat：“yourdesireshallbeforyourhusband，andheshallruleoveryou．”(Genesis3：16)Hefranklygivesmentherighttoruleoverwomen．Itistakenforgrantedthatwomenshouldberuledbytheirfathersandlaterbytheirhusbands．Kathefinaisevenbetyrannizedinthisplay．ThemaltreatmentscouldbeseenhereandthereinActIVintheplay．Forexample，Petruchiofixeshismethodoftamingasfollowing：ThushaveIpoliticlybegunmyreign，AnotherwayIhavetomanmyhaggard，Tomakehercomeandknowherkeeper’Scall，ThatiS，towatchher,aswewatchthesekitesThatbateandbeatandwillnotbeobedient．(66—67)Hetreatshiswifethoroughlyasananimal．Henotmerelyabusesherbyrestrictingherfromeatingandsleeping，butalsomaltreatshermentally．Hejustwantstohaveanobedientpetandheistheidealrepresentativeofthe
M．A．ThesisChapter3ImagesofAngelandMonsterinTheTamingoftheShrewmasculinerulers．AndKatherinaisjustthevictimofhismaltreatments．Asaresult，Katherinahasnochoiceotherthantobesubmissivetoherhusbandandbe“tamed"undersuchasituation．Attheendoftheplay,theevidencesofherbeingtamedcanbeseenapparentlyfromKatherina’SresponsestoherhusbandontheirwaybacktoPadua：Andbeitmoon，orsun，orwhatyouplease．Andifyoupleasetocallitarush-candle，HenceforthIVOWitshallbeSOforme．Whatyouwillhaveitnamed，eventhatitis，AndSOitshallbeSOforKatherina．(82—83)WecanseefromthesewordsthatKatherinabeginstoloseherself-consciousnessandpowerofspeech．Herwordsarejustsaidtocontentherhusbandandaretheechoesofhiswords．Andherhelplessnesscanbefiguredouteasily．Later,shebehaveslikeaPekingesedogandisusedtoherhusband’Scommandsinthelastsceneoftheplay．What’Sworse，sheevenbecomesthespokeswomanofhusband’Sauthoritiesandthepatriarchalsocietywithhermostfamouswords：“Thyhusbandisthylord，thylife，thykeeper，thyhead，thysovereign．”(94)Theself-consciousKatherinahasdisappearedthoroughly．She，now，becomesaslaveandthepropertyofherhusband84
M．A．ThesisChapter3ImagesofAngelandMonsterinTheTamingoftheShrewvoluntarily．Besides，sheacceptsthedutyassignedbythemale-dominatedsocietytowomen：SuchdutyasthesubjectowestheprinceEvensuchawomanowethtoherhusband．Andplaceyourhandsbelowyourhusband’Sfoot：Intokenofwhichduty，ifheplease，Myhandisready，mayitdohimease．(95)ThisideologyisshownfirstlyintheBibleas：“Wives，besubjecttoyourhusbandasyouaretotheLord⋯JustasthechurchissubjecttoChrist，SOalsowivesoughttobe，ineverything，totheirhusbands．”(Ephesians5：22-24)Thereby,itissafetoconcludethatShakespeareisinfluenceddeeplybytheBibleandinheritedtheviewonwomenintheBible．Heshowsthebelittlementtowomen．ThepatriarchalideologyexpressedbyKatherina’Swordsintheplayevenshocksthemalereaders．Inshort，Katherinaisdeprivedofthepowerofspeechandlosesherself-consciousnessandwillpowerlittlebylittleuntilsheistotallytamed．TheSO—calledcomicisinfactatragedyofwomen．Katherina’Sbeingtamedisthe
M．A．ThesisChapter3ImagesofAngelandMonsterinTheTam—i—n——goftheSh．．．．．．．r．．．．．e．．．．—w—failureofwomen’Sfightsagainsttherulessetbymenandthepatriarchalsociety．Beingdescribedasarudeanddisobedientshrew,Katherinaisathoroughvictimofthemale-dominatedsocietyunderthemaskofamonster．Inthisplay,Shakespeareportraysanobedientandsilentangel，Bianca，andarudeanddisobedientmonster,Katherina．Fromthecomparisonbetweenthetwoheroines，itisnothardforthereaderstogettheconclusionthatShakespearewantstopraisethetraditionalvirtuesanangelicwomanshouldpossessinTheTamingoftheShrew．Besides，thetwogirlsarethevictimsofthepatriarchalsociety．Andtheirimages，nomatterangelormonster,arethedistortionofwomenandtheyarejustusedbymalewriterstocontrolthewomenintheirworksandfurtherthewomenintherealworld．
M．A．ThesisConclusionConclusionThisthesishasanalyzedthefemalecharactersinKingLear，HamletandTheTamingoftheShrewindetails．ThesewomenstandoutasthetypicalrepresentativesfromamongotherfemaleimagesofShakespeareandramas．Theauthorofthisthesisfindsoutthatfemalecharactersintheseplayscanbesimplycategorizedinto2groupsbasedontherulessetbythepatriarchalsociety：angelandmonsteraccordingtoSandraGilbertandSusanGubar’feministtheoryofangelandmonster．Amongthesefemalecharacters，CordeliainKingLear，OpheliainHamletandBiancainTheTamingoftheShrewareallportrayedastheangels．Cordeliahasalenient，honest，obedientandlovingimage．Asshecanperfectlysatisfymen’sexpectationofidealwomaninthepatriarchalsocietythussheisperceivedasanangel．Similarly,OpheliaisregardedasasubmissiveandsilentangelwithlovewhileBiancaisallobedient，silentandbeautifulangel．Thesewomenhavesimilarmasksofangel．However,thissanctificationofwomendepriveswomenoftheirvitalityandcreativityineffect．Malewritersjustimposetheirestheticidealonwomentofulfilltheirexpectanceandfantasyofwomen．Thus，itisnecessaryforUStofurtherstudytheirrealfeatureswithouttheirmasksofangel．Ineffect，Cordeliais87
M．A．ThesisConclusioninfluencedprofoundlybythepatriarchalnotionsandthereforeshebecomesatrulydefenderofthemale—centeredworldanditsconceptionsunderhermaskofangel．Besides，Opheliaisobjectifiedbymenandlosestherighttodiscoursethussheistrulyavictimofthepatriarchalsociety．Biancaisalsoperceivedbyherfatherashispropertyandgoodswhichcanbetradeformoneyathiswill．ThustheimagesofangelarethedistortionoftherealWOmen．Ontheotherhand，GonerilandReganinK／ngLear，GertrudeinHamletandKmhednainTheTamingoftheShrewarealltherepresentativesofmonsters．Gonerilisportrayedasaseductiveandcrueldeceiverandwanton．AndhersisterReganisalsoacruelandlasciviousdeceiver．GertrudeinHamletiSviewedasamonsterforsheiSdescribedasaruthlessandviciouswanton．KatherinaiSanotherkindofmonsterassheiSarudeanddisobedientshrew．Thisgroupoffemaleimagesisakindofthreatenandchallengetomen，whicharedetestedbymen．Thusthesewomenarecalled“monsters”．Theimageofmonsterisadistortionofwomenbecausemen’scursestowardsmonstersarethedisgustoffemalevitalityandcreativity,whichtosomeextentinhibitstheself-awakeningofwomen．Thereforethereconstructionofthemonsterimagesisimportant．Withoutthemaskofmonster,thingsaredifferent．Gonerilisinfactawarrioragainstthepatriarchalsocietywhoshowsherownwillandcanpursueforthingsshewantedpositively．Inthesameway,Reganisalsoadefenderoffeminismandabravepursuer．Asamatteroffact，
M．A．ThesisConclusionGertrudeisobjectifiedandavictimofthemale—centeredworldwhilesheisreallyagoodmother．Furthermore，Katherinaisathoroughvictimofthemale-dominatedsocietyassheisdeprivedofthepowerofspeechandlosesherself-consciousnessandwillpoweruntilsheistotally“tamed”．Therefore，theimagesofmonstershowmen’sdetestabilitytowardswomen’Svitality,creativityandself二consciousness．Insummary，femaleimagesintheseplays，angelormonster，areallthedistortionandconstraintofwomenbyvariousmeans．Thisreflectsthedeep-rooteddiscriminationandbelittlementofwomeninthemalecenteredpatriarchalsocietyandembodiesShakespeare’SChristianviewsonwomen．Theportraitsoffemaleimagesinthesethreedramasshowoverwhelmingmasculinepointofview．ThoughShakespeareisagreatdramatistandadvocatestheconceptsofhumanism，heisinfluencedprofoundlybythefeudalisticnotions，theChristianityandtheBible．Besides，Shakespearelivedinatypicalpatriarchalsociety,therefore，hecannotjumpoutofhistimesandhisworksarestillcreatedinamale-centeredworld．Asaresult，Shakespearecannotgetridoftheparochialmale—dominatednotionsandhisviewsonwomenarenearlythesameastheChristianviewonwomen．Accordingtohim，womenwhocallsatisfymen’sexpectationsofidealwomenaredescribedastheangel．Otherwise，theyarethemonsters．ThedescriptionsofthesefemalecharactersinthethreeplaysinevitablyreflectShakespeare’Smaleconsciousnessanddiscriminationofwomen．
M．A．ThesisNOtesNotes1ThisquotationisfromWilliamShakespeare’sKingLear,editedbyR．A．Foakes，Beijing：ChinaRenminUniversityPress．2008．AllthequotationsfromKingLearinthisthesisarefromthisversion．2SeeHeYuhong’sTheMetamorphosesofDesireinKingLear[D]，page43．3ThisquotationiscitedfromPuYueying’s‘'FlowersofEvil’’inShakespeare'sKingLear[D]．Chendu：SichuanUniversity,2007，page10．4ThisquotationisfromWilliamShakespeare’sHamlet，withintroductionandnotesbyQiuKe’an，Beijing：theCommercialPress．1984．AllthequotationsfromHamletinthisthesisarefromthisversion．5Makarie，thetypicaldescendentofWesternculture’Scloisteredvirgins，isagirlcreatedbyGoetheinhisbookWilhelmMeister§Travels．6ThissentenceiscitedfromWangYujie’sShakespeare：AProto-FeministoraMisogynist?--AFeministStudyofShakespeare§FemaleCharacters[D]．2011，page62．1ThisquotationisfromWilliamShakespeare、STheTamingoftheShrew,editedbyJonathanBateandEricRasmussen，NewYork：theModemLibrary．2010．AllthequotationsfromTheTamingoftheShrewinthisthesisarefromthisversion．
M．A．ThesisNotes8ThisquotationiscitedfromGuoXinyu’SShaw≥Challenge：AComparativeStudyofTheTamingoftheShrewandPygmalion[D]．Shanghai：ShanghaiUniversity．2009，page31．9ThisquotmioniscitedfromWangYujie’SShakespeare：AProto—FeministoraMisogynist?--AFeministStudyofShakespeare'sFemaleCharacters[D]．Shanghai：ShanghaiUniversity．2011，page57．1oLongmanDictionaryofContemporaryEnglish,the4medition．Beijing：ForeignLanguageandResearchPress，2004．E1694．
M．A．ThesisBibliography[1】Alfar,CristinaLeon．FantasiesofFemaleEvil：TheDynamicsofGenderandPowerinShakespeareanTragedy[M]．NewYork：UniversityofDelawarePress．2003．[2]Bal，Mieke．DeatheandDissymmetry．"ThePoliticsofCoherenceintheBookofJudges[M]．Chicago：UniversityofChicagoPress．1988：1．324．【3]3Battenhouse，RoyWesley．Shakespeare童ChristianDimension[M]．Bloomington：IndianaUniversityPress．1994．[4]Black，James．EdifiedbytheMargent：ShakespeareandtheBible[M]．Cagalary：UniversityofCagalary．1979．[5】5Bradley,AndrewCecil．ShakespeareanTragedy?LecturesonHamlet,Othello,KingLear,Macbeth[M]．NewYork：PalgraveMacmillanLtd．2007．[6】Brown，JamesSelkirk．BibletruthswithShakespearianparallels[M]．London：HodderandStoughton．1872．[7]7Brownstein，Rachel．BecomingaHeroine：ReadingaboutWomeninNovels[M]．NewYork：ColumbiaUniversityPress．1994．【8】8Burgess，William．TheBibleinShakespeare：AStudyoftheRelation
M．A．ThesisBibliographyoftheWorksofWiliamShakespearetotheBible[M]．Chicago，Illinois：TheWinonaPublishingCompany．1903．[9】9Charles，Ellis．ShakespeareandtheBible[M]．London：Houlston&Sons．1897．[10】Chedgzoy，Kate．Shakespear，FeminismandGender[M]．Houndmills：MacmillanPress．2001．[11】Clarke，MaryCowden．ThegirlhoodofShakespeare≥heroines[M]．London：J．M．Dent&Co．1898．[12】Coleridge，SamuelTaylor．Coleridge≥ShakespeareCriticism[M]．Cambridge：HarvardUniversityPress．1930．[13】Corum，Richard．UnderstandingHamlet[M]．Westport，Connecticut：GreenwoodPublishingGroup．1998．[14】Coursen，Herbert．ChristianRitualandtheWormofShakespeare≥Tragedies[M]．London：AssociatedUniversities．1976．[15】Fisch，Harold．TheBiblicalPresenceinShakespeare．MiltonandBlake[M]．Oxford：ClarendonPress．1999．[16]Freud，Five．LecturesonPsycho-Analys西【M】]．NewYork：Norton．1988．[17】Fyre，RolandMushat．ShakespeareandChristianDoctrine[M]．Princeton，NewHersey：PrincetonUniversityPress．1963．[18】Gilbert，M．SandraandSusanGubar．TheMadwomanintheAttic[M]．London：YaleUniversityPress．2000．
M．A．ThesisBibliography[19】Hazlitt，William．CharactersofShakespeare'sPlays[M]．London：KessingerPublishing．2004．【20】Heilbrun，Carolyn．ReinventingWomanhood[M]．NewYork：Boston．1979．[21]HolyBible[M]．NRSV．NationalTSPM&CCC．2002．[22]Jameson，Anna．Shakespeare≥Heroines：CharacteristicsofWomen,MoralPoetwaLandHistorical[M]．London：GeorgeBellandSons．1913．[23】Knight，GeorgeWilson．TheWheelofFire：InterpretationsofShakespeare§SombreTragedies[M]．London：OxfordUniversityPress．1930．[24】Knight，GeorgeWilson．PrinciplesofShakespeareproductionwithSpecialReferencetotheTragedies[M]．London：FaberandFaber．1936．[25】Madsen，L．Deborah．FeministTheoryandLiteraryPractice[M]．Beijing：ForeignLanguageTeaching&ResearchPress．2006．[26】Marra，Giulio．ShakespeareandThis‘'Imperfect”World：DramaticFormandtheNatureofKnowing[M]．Michigan：ELongPress．1997．[27】Marx，Steven．ShakespeareandtheBible[M]．NewYork：OxfordUniversityPress．2000．【28】Masefield，John．Shakespeare＆spirituallife[M]．Oxford：ClarendonPress．1924．
M．A．ThesisBibliography[29]McAlindon，Thomas．Shakespeare’TragicCosmos[M]．NewYork：CambridgeUniversityPress．1991．[30】Milward，Peter．BiblicalInfluencesinShakespeare'sGreatTragedies[M]．Bloomington：IndianaUniversityPress．1987．[31】Noble，Richmond．Shakespeare§BiblicalKnowledgeandUseoftheBookofCommonPrayer[M]．NewYork：OctagonBooks．1935．[32]Pitt，Angela．Shakespeare’Women[M]．Totowa，NewJersey：BarnesandNobelBooks．1982．[33】Richmond，VelmaBourgeois．Shakespeare,Catholicism，andRomance[M]．NewYork：Continuum．2000．【34】Schlegel，AugustWilhelmvon．ACourseofLecturesonDramaticArtandLiterature[M]．London：BiblioBazaar．2008．[35】Shaheen，Naseeb．BiblicalReferencesinShakespeare§Comedies[M]．Newark：UniversityofDelawarePress．1993．[36】Shaheen，Naseeb．BiblicalReferencesinShakespeare每Plays[M]．Newark：UniversityofDelawarePress．1999．[37】Shakespeare，William．Hamlet[M]．Beijing：theCommercialPress．1984．[38】Shakespeare，William．KingLea[M]．Beijing：ChinaRenminUniversityPress．2008．[39】Shakespeare，William．TheTamingoftheShrew[M]．NewYork：the95
Bibliography[40]Tyson，Lois．CriticalTheoryToday[M]．NewYork：Routledge，2006．Vives，Juan．TheInstructionofaChristenWoman[M]．Champaign：UniversityofIllinoisPress．2002．[41】Waters，Doudlas．ChristianSettinginShakespeare'sTragedies【M】．London：AssociatedUniversities．1976．[42]鲍晓兰．西方女性主义研究评介[M]．北京：三联书店出版社，2007．[43]柏康主编．西方女性主义文学理论[M]．桂林：广西师范大学出版社，2007．[44]卜伽丘．十日谈[M]．方平、王科一，译．上海：上海译文出版社，1995．[45]陈莹轲．莎士比亚喜剧中两性观的两面性[D]．合肥：安徽大学2010：1—58．[46]何宇洪．《李尔王》中欲望的变形[D]．重庆：西南大学，2011：1—64．[47]胡光全．从看莎士比亚独特的人物塑造艺术[J]．河南师范大学学报，1999(5)：4-6．[48]华泉坤．莎士比亚新论[M]．上海：上海外语教育出版社，2007．[49]解林静．沉默与打破沉默——莎士比亚戏剧女性人物研究[D]．保定：河北大学，2003：卜63．[50]梁工．莎士比亚与圣经[M]．北京：商务印书馆，2006．[51]李志斌．试论莎剧中的女性形象[J]．湖北大学学报，1995(5)：
Bibliography121-123．[52]邱佳岭．《驯悍记》与莎士比亚的女性主义意识[J]．山西教育学院学报，2002(4)：28—29．[53]邱运华．方法与案例文学批评[M]．北京：北京大学出版社，2005．[54]魏双霞．解读《哈姆雷特》中的女性失语症[J]．甘肃教育，2010(4)：62—63．[55]肖莉．莎士比亚戏剧中的女性形象[J]．湖北经济学院学报，2008(2)：119-120．[56]杨周翰．莎士比亚评论汇编[M]．北京：中国社会科学出版社，1979．[57]张岩冰．女权主义文论[M]．济南：山东教育出版社，1998．[58]张佑周．莎士比亚戏剧人物新论[M]．北京：中国文联出版社，2002．[59]朱立元．当代西方文艺理论[M]．上海：华东师范大学出版社，2005．
AcknowledgementsTimeflies．Mypostgraduatelifewillcometotheendwiththeaccomplishmentofthisthesis．RecallingthetimeinCentralSouthUniversity,Iamextremelygratefultomanypeople．Firstandforemost，mysincerethanksgotomydearsupervisorProfessorLiYanbo，fromwhomIhavebenefitedalot．Throughoutthethreeyears’studyandtheaccomplishmentofthisthesis，shepatientlyguidedmeandgavememanyusefulsuggestions．IcouldnothavefinishedthisthesisSOsmoothlywithoutherguidanceandhelp．Moreover,theotherprofessorsintheforeignlanguagedepartmentalsodeservemygratefulnesssuchasProfessorZhangYuejun，ProfessorLiLansheng，ProfessorLiuMingjing，ProfessorLiLing，ProfessorWuLingying，ProfessorHuangJianren，ProfessorZengZhuqingandSOon．111eyhavehelpedmealotwithmystudyoftheEnglishandAmericanLiterature．Lastbutnotleast，IalsoappreciatethetremendoushelpfrommyclassmatesTangLingzhiandZhujiangwhohaveshownmetheirgreathelpthroughoutmylifeinCentralSouthUniversity．IregardthefriendshipaSgreattreaSureofallmylife．Allmyfamilymembersdeservemythankstoofortheyhavesupportedandencouragedmesomuch．
攻读学位期间主要研究成果姚瑶，浅析《活着》里的生与死一品读《活着》，．品读余华，《科教文汇》，2012年10月上旬刊
微信/支付宝扫码支付