Warlike women

‘reproofe to these degenerate effeminate dayes?

in Shakespeare’s histories and counter-histories
Abstract only
Get Access to Full Text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Access Tokens

If you have an access token for this content, you can redeem this via the link below:

Redeem token

This chapter proposes to return the female characters to the centre of history's stage, to reopen the closet to which they were seemingly confined in Henry V. In King John, in addition to the stage presence of the warlike Queen Eleanor, whilst the men are failing to protect their country and save 'mother England' from foreign occupation, brave English women are taking matters into their own hands. Constance's verbal performance in King John is reminiscent of the female roles in Richard III, for here women's tongues are likewise sharp and active. The impact of images of women conveyed via the language of the plays should not be underestimated. It has been argued that William Shakespeare's audiences possessed a highly tuned 'image consciousness' inherited from their medieval ancestors, so that spectators at the drama could readily construct offstage pictures in the mind's eye.



All Time Past Year Past 30 Days
Abstract Views 108 72 2
Full Text Views 40 33 1
PDF Downloads 5 4 1

Related Content