The representation of women in William Shakespeare's Hamlet and The Merchant of Venice shows women as a kind of character that has the potential to have the power and agency, but ultimately ends up falling back into the role of submissive partner to the main character of each game. Ophelia in Hamlet, he is punished for his attempt to agency for their death, while Portia, who is able to gain more agency than Ophelia, and placed back into the role of forgiveness "master" at the end of the Merchant of Venice with his back to Bassanio. Both women, at the end of the work had been put back into the role of being controlled by the logic of the plot, eliminating the anxiety of the male characters of text and reader. Ophelia warns about falling in love with Hamlet in Act III scene by her brother Laertes, and this serves as the first event in the procession omen of Hamlet and Ophelia, and Ophelia's eventual demise. This scene serves a purpose more meaningful, to create the atmosphere that Ophelia is controlled by the men around her. When Laertes basically ordered to stay away from Hamlet is, in essence, giving it a rule to break. If a rule is broken the mandate of a male authority figure to be within the logic of history, be punished and this is carried out by eventual death. Portia is in a different situation in The Merchant of Venice, but still presented with the opportunity to show the agency and be punished for it. At the time the text is resolved Portia dressed as a man and assumes the guise that they carry with him is guilty of challenging social ideals and beliefs, which ensures their punishment by the plot. That's why Antonio is positioned near the end, and he has forgiven his deceptions. By placing the back with a man who has betrayed your trust that we are given the message that the end Portia has to abandon his ideals in order to finish the story in the most anticipated and socially "correct". The most worrying aspect for the representation of these women is like Shakespeare then presented as powerful, but ultimately prepares them to become femme fatales and "injury." I do not pretend to know exactly Shakespeare's intention in doing this to these female characters, but my guess is that social conventions placed a certain amount of pressure on playwrights to portray women as a minor genre, stripping them of power any and all they have. Shakespeare could have given each of the women's agency to comment on this social ideal, but ultimately had to conform to the wishes of society. When witnesses what she believes Ophelia is Hamlet's spiral into madness which can only account for it by believing that she is the cause of his state in the Carroll Camden. "To complete disappointment, Hamlet uses for offensive language, language that no sensible girl could bear with equanimity. "(Camden 249) that speaks of the Act III scene i where Hamlet confronts Ophelia declaring his affection for her. At this point in the game's Ophelia is very unclear as to what the real intentions of Hamlet to their tune. She has reason to believe that his father and brother were telling the truth when he said that Hamlet was only interested in using it for sexual purposes, but in Act III shows Ophelia Hamlet's true intentions and feelings. Ophelia is then made to look like a fool for having ever entertained the idea that Hamlet may be sincere, and now that I think sets the demise of Ophelia. This is the point in the game where there is a noticeable change in the action, and the scene acts almost as a catalyst for the death of Polonius. Portia fall begins in Act III scene i when she decides to help Antonio in its lawsuit against Shylock. Although Antonio is going to help, on behalf of her husband, she is still placed in the position of power. Portia becomes the only person who can help Antonio, so it gives the agency to help you. Portia comes to break the social conventions of gender by dressing as a man and go to court. By putting on the clothes of a man Portia is given a certain amount of power that can only be granted to men, she was able to speak freely in court and give their opinions without being dismissed as "hysterical" but a woman. Through this process of cross-dressing Portia "… be objective and therefore prevents his own agency in giving herself to Bassanio. "(Newman 25) become less powerful and then begin to put the power and control back in the hands of Bassanio. Guisinger for herself as a man in order to help "save" Antonio of having to deliver a pound of flesh Shylock itself must turn to an object. Not only Portia doing this, but people are around to saying it will then travel to a monetary policy for a couple of days. She becomes dishonest in the process of trying to help save Antonio, and begins the process of disintegration of its own ideals. The next step in the fall of Ophelia came when he received the news that his father had been murdered by Hamlet. It is at this point in the game, where we see that being punished for their actions through the plot. Ofelia's father had to die to produce an extremely tragic for his character. When a woman, like Ophelia, openly disobeys the orders he gave his brother, there must be places in the plot to start putting back in a submissive position and less powerful, and the death of his father not only makes but also he prepares for his own death. The anxiety shown Ophelia after learning of the death of his father can not be complete due to the fact that she is mourning his death, but it may also upset about the whole situation of her relationship with Hamlet. Camden says, "We can allow the claim that the words of Ophelia and the spring action of deep grief, but not all of the death of Polonius." (Camden 252) speaks of how we should pay more attention to every reason in the madness of Ophelia, we should not look only at the surface and assumes she only grieves the death of his father, but also by the death of his love with Hamlet. It becomes ironic at this point in the play, the same love that she wants to have with Hamlet becomes one of the engines of their folly. Its demise was announced from the time his brother and father warned him that Hamlet's intentions, but it becomes a deadly piece of advice at the end of the work. This forbidden love makes Ophelia such affliction that eventually kills herself, and therefore ultimately be punished for the original "sin" to disobey his orders. Portia final position of the presentation of their marriage begins when she asks for Bassanio's ring in exchange for their help in the trial. Although it is willingly creating Bassanio to betray the promise he had made to her, she is testing whether or not it really the truth, to see his true character. The idea that she has given the ring to Bassanio and Bassanio is given so that he thinks he is an attorney states that the ring is indeed, "giving gifts is important … because it establishes and expresses social bonds between members of a change. "(Newman 20). The ideals underlying the ring is reached within the story are trust, betrayal and punishment, not only committed by Bassanio but more for Portia. While Portia gives us a strong female character in the game, we must ask ourselves what are the motivations for this are in the representation of Shakespeare. Historically, during the time of conception of this work, women were not assigned the ability to be proactive and take the same ability to control men were assigned. For a woman, especially in the drama, to assume the appearance of a man and then deceive others to believe that she has the power of a man is a big taboo in some of Shakespeare. I have concluded that this freedom was given to Portia to point out social injustices that were taking place at the time of writing this book. However, it should be noted also that even in the beginning of the game is full of Portia control of his dead father, "… the will of a daughter who live … curb'd by the will of a dead father. "(Shakespeare Act I Sc ii Lines 24-25). Portia is established from the beginning to find a way to gain power, and therefore, was also created to bring back to their place in the final. During the time that Shakespeare was writing these two plays was a cross-dressing theme that has spread in his works. Portia, that cross, dressed as a young lawyer, he does so in order to participate in something magical practice of taking a gender perspective, and this was an interesting topic for the public. While today we can say that transvestism is important because it represents the transfer of power to the transfer of gender appeared, most likely it's more fun in a comic sense in any case the hearing of the 1590s. While no cross-dressing Ophelia in Hamlet, is maneuvering itself around the mandate of the male authority figures in your life. By choosing to pursue a relationship, or even to pursue the feelings of Hamlet, which is blatantly ignored what would be considered a direct order from his brother and father. At the end of The Merchant of Venice Bassanio Portia faces about his ring, which has given to the "lawyer" in the trial of Antonio. She uses a typical "feminine" tactics of deception to try to blame it on the admission of what he has done with the ring. This use of typically "feminine" ways to reveal that Bassanio gave the ring is a big disappointment considering all the efforts put forth recently by Portia to try to win something "masculine" energy . The deception here at the end of the work means that Portia has not really gained any power, that is, in fact, back in the position of being controlled by the authoritarian male figure in his life. She forgives Bassanio to give the ring away, never admit that it was she who was the lawyer, and eventually fall into the submissive position of women in the relationship. Ophelia's tragic final moments are closer to the definition of what a femme fatale has to do a convention, because she dies in Hamlet as opposed to Portia, who lives in Merchant. Ophelia's character should be punished by history due to the fact that clearly went against the will of the patriarchal structure that lived in. The biggest problem presented by these works is this: What kind of criticism is Shakespeare century decisions about 16 England through its representation of sexuality? One could argue that "… patriarchy is deeply "homo-sexual" as it builds single male as norm. "(Smelik 58). If this is true, Shakespeare is using the control of men of Portia and Ophelia in these two plays to represent a major affliction of society, not only one where women are powerless, but in which homosexuality is their roots. Portia de dressing as a man to take power, not realizing that the claim that Bassanio is truly attracted to the power of one man. At the other end of the spectrum you could say that Ofelia is the polar opposite of this idea of underlying homo-sexual desires of society by the fact that she can not assume the identity of a man, but he does try to take male power in decision making through the application of Hamlet against his father and brother's wishes. This would make Ophelia a candidate for this theory, therefore, though an example would remain weaker than Portia. By Portia and Ophelia association with feminist theory of the "femme fatale" is given a new meaning to the idea of gender within the play, "The spectator so you can identify and extract pleasure of the femme fatale powerful … "(Smelik 61). Using this theory one can conclude that through reading these two plays to a female audience can gain power for themselves through witnessing the power of women in the stories. The female audience can also maneuver itself around the limitations of gender and may ultimately win both a sense of agency as the character does. The main problem with this theory is not that, by nature, the femme fatale has to be "woman." While a female audience can relate and even draw strength from a femme fatale character, which will ultimately be disappointed and shamed by the disappearance of the character. If a woman reader feels as if she is gaining power through Ophelia, which will be demolished as Ophelia in death by his attempt to the agency. Although both women represent a tragic feminine within each of the plays, I think each one has distinctive qualities that make your case different from the others. Both, however, share the same ideal of "femme fatale" because of its attempt to assimilate the power that man is assigned in the 16 century writing. Through diversion decision-making and cross-dressing the two "heroines" are able to test the boundaries of the patriarchal structure of society and literature. While some may see Ophelia and Portia and see a clear "loser" and "winner" I do not think you can read it easily. I think both Portia and Ophelia are "losers" in the game of power between the genders, and in the end they end up exactly where the patriarchal structure of the story wants to be: Ophelia has died, and Portia is introduced into the role of forgiven woman will once again be dominated by the male figure in his life. If I were to declare one of the two women in a better position in his circumstances, I would say that Ophelia ended with a situation better than Portia. While Portia is already set to live the rest of his life restoring and caring for Bassanio, Ophelia has completely escaped the bondage of society that lives in his death. Although she is dead, which for many may seem a nuisance … well … I think it's an advantage that will never have the opportunity to be dominated by a male figure and not have to tolerate that to try to gain power through manipulation longer. WORKS CITED Bernink, Pam Cook and Mieke. The book movies. Anneke Smelik. "Feminist Film Theory." London: British Film Institute, 1999, pp. 353-365 Camden, Carroll. "In the madness of Ophelia" Shakespeare Quarterly, vol. 15, No. 2. (Spring 1964), pp. 247-255. http://links.jstor.org/sici?sici=00373222% 28196421% 2915% 3A2% 3C247% 3E2.0.CO% 3B2 3AOOM%-W Newman, Karen. "Portia Ring: The women rebels and exchange structures in The Merchant of Venice" Shakespeare Quarterly, vol. 38, No. 1. (Spring 1987), pp. 19-33. http://links.jstor.org/sici?sici=00373222% 28198721% 2938% 3A1% 3C19% 3B2% 3E2.0.CO 3APRUWAS%-K Shakespeare, William. The Merchant of Venice. Washington Square Press. January 1, 2004.
Planning The Return Journey With Your Luggage So, you have successfully travelled abroad, and survived the experience. Now laden with an armful or two of wonderful souvenirs for yourself and your obligatory loved ones back home, you stare in open mouthed awe at the impossibly small case you brought with you. It seems almost impossible that you really managed to cram all of your items into that bag or case, and you shake your head in wonder that you never had the foresight to imagine that you might wish to return home with trophies of your visit. Where, pray, do they go?
We have almost certainly all found ourselves in this kind of situation, and the end result is usually a combination of cramming and shoving our belongings into our bag in any way they will go, regardless of the likely condition of them at the other end. The bag is almost certainly strained as close to breaking point as you dare go, and your carry on luggage now, instead of a single convenient shoulder bag, now has grown to a shoulder bag and three wieldy, delicate and fiddly carrier bags whose handles may, or may not survive the trip. At least one handle will snap, resulting in a constant battle for survival.
So, how does one plan for this eventuality before leaving for your trip in the first place? There are several tried and tested methods, and planning ahead, giving these methods a try will save you a great deal of effort later, and be far more likely to result in fewer breakages.
The first, and perhaps most obvious suggestion is to under pack on the outward journey. By deliberately leaving space in your case, you will find that not only will your packing at the end of your holiday be much quicker and easier, but you will have room for the souvenirs you have purchased. As a side note to this, when buying souvenirs, make sure you are not carried away, and bear in mind the room you have allowed yourself. The six foot suit of armour might look fantastic, and be at a tremendous price, but exactly where will it fit in your suitcase?
The second suggestion is to purchase a suitcase with an expanding side. These are becoming quite popular, and are readily available from most luggage specialists. The case itself has two zips – the main one that opens the whole case, and then a second zip running parallel, which allows an expanding side to increase the volume of your case by as much as 50%. This will allow you to pack your items in easily, and still have room for your new items.
A third suggestion is to plan to discard certain items you took with you. Many people pack cosmetics in specially bought plastic bottles which are smaller than the original jar, and holds just enough for the period you are away. These typically cost just a few pence, and at the end of your holiday, are mostly empty. For the sake of a few pence, why not bin them? This will help to increase the space. Plenty of people do the same thing with clothes, buying a few really cheap tops which they would not wear back home, and simply discard them at the end of their trip, or donate them to a charity shop or recycling centre.
The bottom line is this: plan. If you give the second packing experience which you can look forward to at the end of your trip some thought before you go away, you are more likely to ensure an easy, successful, quick and effective escape. Your souvenirs are far more likely to survive as well.
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