William Shakespeare is a rich and suggestive creator regarding cautioning understudies to issues in gender roles. In spite of the fact that Shakespeare reflects and on occasion bolsters the English Renaissance generalizations of females and males and their different parts and obligations in the public arena, he is likewise an essayist who inquiries, challenges, and changes those representations. For Shakespeare, and also for the greater part of Renaissance society, females as the ladylike spoke to the accompanying ethics which, significantly, have their importance in relation to the male; compliance, quiet, sexual chastity, modesty, devotion, consistency, and tolerance. In any case, gender qualities were socially built and there was a simple crossover of manly and female characteristics to both sexes.
Characterizing feminine and masculine qualities permitted Shakespeare to portray men with certain “female” attributes and females with certain “manly” attributes. For instance, tears were considered as feminine, however not solely female. In Hamlet, when Laertes learns of the passing of his sister Ophelia, he sobs in distress, with bona fide feeling, however shouts, “The woman will be out”, referring to his tears speak to his “womanly” part that cannot be smothered by his manly quality (Shakespeare & Farnham, 1971).
Another play, Neil Simon’s The Odd Couple, is a standout amongst the exemplary comedic plays ever. The play used to gain by uneasiness about hetero sex standards. In the story, Oscar, a sportswriter, is living alone in his eight-room condo in New York. At the point when Oscar and Felix choose to live respectively, they enter a relationship that resembles a misshaped adaptation of hetero marriage. Particular, martyred, and sincerely manipulative, Felix is the wife. He cleans up the house, cooks and behaves femininely: “I can’t get over what Murray just said… You know I think they really envy us” (Simon, 1966). Harassing, baffled, and inclined to attacks of anger, Oscar is the spouse: “You can play Mr. Clean all you want. But don’t make me feel guilty” (Simon, 1966). The play makes the point that it is not sex contrasts that make people fight; residential connections just overstate human contrasts and compel us into contradicting camps. Underneath the majority of that, Felix and Oscar unmistakably adore each other.
In the 60s, Oscar and Felix’s “marriage” was entertaining because it looked eccentric. Oscar and Felix have to be surrogates for men and women, who were on inverse sides of an apparently huge sexual orientation isolation. Yet, today the stereotyping portrayed in the play also takes place in modern society.
Shakespeare, W., & Farnham, W. (1971). Hamlet, Prince of Denmark. Baltimore, Md.: Penguin Books.
Simon, N. (1966). The odd couple. New York: Random House.