Authors often perform the task of cultural historians, immortalizing through their writings the popular perspectives and social opinions of their time. Shakespeare himself perfectly encapsulated in his writings the Renaissance mentality towards gender, as well as the roles and responsibilities that men and women play in society. In her time, as still today, women are seen as possessing virtuous traits, such as piety, obedience, chastity, patience, and modesty. Men, on the other hand, fulfill honorable roles, displaying great wisdom, bravery, bravery, power, logic, and strength. However, Shakespeare went beyond reflecting the beliefs of his time and actually questioned, challenged, and changed these gender ideals. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get an original essayIn Shakespeare's plays Henry VI Part 3 and Richard III, the notion of gender is frequently contested. Characters often don't fit into a perfect mold of "masculinity" or "femininity," but these traits overlap and characters behave in ways that are complex, fluid, and simply universally human. Women were cunning and cleverly harnessed power through their speech, family, and marriage. Men were sometimes weak, crumbling at the whim of their enemies, defenseless and unreasonable. Thus, Shakespeare raises the question of whether gender is a natural arrangement that occurs simply and effortlessly, or whether it is a socially created binary that requires frequent reinforcement. Understanding Shakespeare's complex construction of gender in his plays will not only give us insight into the generalizations of gender in the Renaissance, but will also provide us, today's readers, with the opportunity to confront our own notions of gender. This is not to say, however, that these plays did not, to some extent, follow conventional ideas about gender. Several female characters in Henry VI and Richard III have moments of pure femininity, where they display nothing other than the feminine qualities expected of a woman. Women are often praised for being docile and gentle, while also being virtuous and graceful. Lady Elizabeth Gray masterfully achieves this balance and perfectly demonstrates her virtuous elegance in Act III, Scene 2 of Henry VI, Part 3. After losing her husband, the widowed Lady Elizabeth Gray finds herself without any land and without any power. Although King Edward's proposal, to give the lady his lands if she loved him, would solve Elizabeth's problems, she immediately rejects him, thus maintaining decorum. In fact, she describes the "love" she feels for Edward as "a love unto death, my humble thanks, my prayers, that love which the virtues implore and which virtue grants." (III.2.73, 74) Lady Elizabeth is careful to make it clear that she is in no way behaving inappropriately or immodestly, but is rather, as she herself says, virtuous. However, when Edward offers to, for lack of better words, make her an honest wife, she does not hesitate to accept his offer. This scene doesn't read as romantic or sweet, but rather as that of a needy woman who practically sells herself to maintain her and her children's class status and comfortable lifestyle, but the fact of a socially respectable manner. This exchange is very similar to the one where Richard attempts to woo Lady Anne Neville in Act I, Scene 2 of Richard III. At first, Lady Anne continually hesitates, rejecting Richard's attempts andeven the insulting one. However, Richard's perseverance, his permanent imperturbability and his flattering character finally pushed the lady to accept his proposal. Although we readers are aware of Richard's unromantic intentions in wanting to marry her, we are still meant to believe that she has fulfilled her duty as a wife by succumbing to Richard's demands and agreeing to marry him. The male characters in Shakespeare's plays embody social expectations of masculinity and what it means to be a "manly" man. Men are expected to display strength, both physical and mental. The perfect gentleman is also expected to strike a balance between being honorable, intelligent, and reasonable in his behavior, as well as powerful, tough, and courageous in his actions. In Richard III, the character of Henry Richmond is almost sanctified, painted to be an exemplary man and leader. He is noble, just and longs for peace, but does not crumble in the face of war. His speech to his men before the battle in Act V, Scene 5, can only be described as heroic and moving. He comes across as friendly, caring and admirable. He describes his soldiers as “loving compatriots” and asserts that their cause is respectful, divinely ordained by God himself. Henry displays an optimistic but modest attitude and treats his men as his equals, his companions in a just and righteous battle. Of course, it is important to note that, having written this play during the reign of a Tudor monarch, it is likely that Shakespeare will be trying to portray the original Tudor, Henry Richmond, as a strong, decisive and brilliant leader. However, the fact remains that Richmond exemplified what a man should be. Another character who also upheld social expectations of men, although in a slightly less conventional way, was Warwick. In Act III, Scene 3 of Part III of Henry VI, Warwick switched sides from York to Lancaster after receiving news of Edward's hasty marriage to Lady Elizabeth Grey. Although it is easy to assume that it was Edward's betrayal and Warwick's humiliation that caused him to change his allegiance, it is absurd that the loyal and truly devoted Warwick would switch sides for a such a superficial reason. Warwick did not let his wounded ego get the best of him and did not sell his allegiance to satisfy his pride. Rather, it was Edward's lack of responsibility and judgment that convinced Warwick. Warwick is honorable and just, and he simply wishes to serve a deserving king. Warwick applied his own personal beliefs in morality, honor and duty and strove to support a worthy king. There are, however, many characters who transgressed the roles they were supposed to play and did as they pleased, regardless of their gender or social status. Many of the women of Henry VI Part 3 and Richard III manage to wield great power despite their social roles. In fact, it is often their position as women that allows them to acquire said influence and authority. The prime example of this is none other than Queen Margaret, who never fails to cross the fine line between masculine and feminine behavior and embody any characteristic. she chooses to do so. Margaret breaks the norm for women of her time and does "bad" and "manly" things in order to do what she deems right and protect her son's best interests. This makes her a thoughtful and realistic multi-dimensional representation of a female character in a work of fiction. In Act I, Scene 4 of the play Henry VI, Part 3, Margaret takes on a male role when she tortures and ultimately kills Richard, the Duke of York. It goes against everything weexpected of a lady. She is not wise, gentle and kind, but rather domineering, cruel and vengeful. She mocks York, belittling him and his attempt to usurp the crown. Her placing a paper crown on his head is the culmination of the passionate fury she feels toward York and the ultimate manifestation of the ridicule she wishes him to feel. By showing York her son's bloody handkerchief, she not only tries to hurt him even more, but she acts unnaturally, taking pride and reward in the death of a child, of a son. Margaret is ruthless and violent, but she behaves so fiercely in order to protect her son Richard and secure the future she ardently believes is rightfully hers. Her maternal instincts, love and desire to protect her son can be seen as a fundamental and fundamental part of womanhood, thus making her essentially feminine. By placing her in this paradoxical and divided characterization, Shakespeare managed to create an incredibly complex female character: she was both harsh and ruthless, caring and motherly. A mother and a warrior. The character of Margaret has both masculine and feminine characteristics, and these two different ranges come together into a victorious and powerful human being. This character creation reflects a joining of the masculine and feminine and can be linked to Shakespeare's queen and patron, Queen Elizabeth, who perfectly personified this very juxtaposition of masculinity and femininity. Many female characters, aside from Margaret, are also written as multi-dimensional and complex women. Lady Elizabeth Grey, for example, was truly an ideal lady in Henry VI, Part 3. She accepted Edward's impetuous marriage proposal and she ran for cover when in danger. However, in Act IV, scene 4 of Richard III, she has the courage to speak to Richard. In fact, what Queen Elizabeth said to Richard regarding his desire to marry his daughter, Princess Elizabeth, may have been one of the hardest, fiercest, and most deserved things anyone has ever said. tell Richard. Elizabeth used a cruel mind to bring down Richard. She answers Richard's question about how to woo Elizabeth with a list of absurd ideas, highlighting several of Richard's heinous crimes. For example, she suggests that he “send her, by the man who killed her brothers, a pair of bleeding hearts; engrave on it “Edward and York”; then maybe she will cry. (IV.4.276-278) She goes on to tell Richard that he could also present her with “a handkerchief; which, he said, emptied the purple sap from his sweet brother's body and asked him to dry his weeping eyes of it. (IV.4.281-283) Elizabeth is of course referring to Richard's murder of her two sons, Princes Edward and York. She does not stop there and continues to list other evil acts of Richard, such as the murder of George, Duke of Clarence, his brother Rivers and his own wife, Lady Anne Neville. In doing so, Elizabeth exceeds her role as shy and docile, and brutally defends her daughter with a sharp and unapologetic tongue. It is curious to note that at the beginning of Act V, Scene 4, the three women - Queen Margaret, Queen Elizabeth and the Duchess of York are all gathered around, bonded by their hatred of Richard, a man. Margaret and Elizabeth, who have often been opposed to each other, serving as each other's foil, are now united in their efforts to destroy Richard. The scene seems to present these women as witches, as they plot evil and cast curses. Furthermore, it would not pass the Bechdal test, a modern creation that tests..