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WIT AND BEAUTY OF LOVE IN SHAKESPEARE'S FEMALE
CHARACTERS

AHMED SHARIF TALUKDER

Head, Dept. of English
University of South Asia (USA)
Dhaka, Bangladesh.

Abstract
This study insists on some important phenomena related with the witnesses
of love and beauty in Shakespeare’s most female characters of his writings.
It studies on the contemporary views of beauty and wits generalized in his
loveliness of female characterizations. It tries to intensify the truth that,
through the ages, the traditions of women wits and beauties with good or
evil are being practiced in human intellectual faculties and the researchers
are still trying to explore the very emotions set in his marvelous tragedies
and comedies. As love is a complex web of emotion, it has the wit of good
and evil in a side and prettiness or softness on the other side. The treatment
of love in Shakespeare’s plays goes with some common practices of human
society. The countless colors of love have their touches all through the
splendid philosophies of Shakespeare who leads his immortal thoughts
towards the humanity. We need to scrutinize them later on.
Key words: Wit, Beauty, Flattery, Truthfulness, Dedications, Sufferings, Loss, Pain And
Gain.

Introduction:
Love is an inspirational human feeling as well as a most warming and happy intensity. It
revolves us throughout our lives and undertakes some unknown shapes and forms. It is
something we all carve up in us, no matter where we live or what we belong to any social
status or age. Shakespeare has incarcerated the spirit of it, its highs and lows, and the beauty
of falling in love in some of the most dramatic lines ever written. Shakespeare wrote 38 plays
and the word love is mentioned in each one of them. In some, it is very frequent: The Two
gentleman of Verona – 162 times, Romeo and Juliet – 120, As you like it – 104, A
Midsummer Night’s Dream – 103, Much Ado About Nothing – 89 (Richard Gill, Mastering
Shakespeare, 1998). In fact, Shakespeare uses love as a theme throughout his many plays,
including his tragedies. In his comedies, love propels characters to act against their self-
interests and reveal their true nature.
Love is a divine act. The world of love is full of fantasy. It has no particular color or shape
but everything happens in human mind. In Shakespeare’s stories it is very common.
Sometimes, all ideas of love are prevailed in a great extent. Specially, the female characters

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are really influencing. In the comedy Much Ado About Nothing Beatrice is the niece of
Leonato, who is a wealthy governor of Messina. Although she is a close friend with her
cousin the Hero, Leonato’s daughter, is not alike her beloved. The hero is polite, calm,
reverent, and tender. Beatrice is feisty, sarcastic, witty, and sharp personality. Beatrice carries
up a “merry war”- a war of wits where each insults the other through, jokes, puns sarcasm,
and irony-of wits with Benedick, an aristocrat and combatant from Padua. The play puts
forwards that she was once in love with Benedick but now he led her on and their affiliation
ended. Now when they meet, they relentlessly compete to outdo one another with clever
insults. So, here the form of love is insulting each other in several ways in the loss of
moments. Nobody wants to loss their liberties of thoughts and for this reason; they humiliate
each other every time.
Beatrice is a prime instance of one of Shakespeare’s mighty female characters because the
hero has been humiliated and accused of violating her chastity in the thought of Beatrice. She
explodes with fury at Claudio for maltreating her cousin. In her disappointment and rage
about Hero’s mistreatment, Beatrice revolts against the uneven rank of women in
Renaissance society-
“O that I were a man for his sake! Or that I had any friend would be a man for my
sake!” she fervently cries outs. “I cannot be a man with wishing, therefore I will die a
woman with grieving” (Chapter-IV. Page.312 – 318 ).
Besides, we also find the notion of liberty and sacrifice in Shakespeare’s The Taming of the
Shrew Bianca Minola is a character here (c.1590–1594). She is the younger daughter of
Baptista Minola as well as the sister of Kate, entitled as "shrew" here. The lovely Bianca has
more than a few fans in the play yet Baptista has rejected her to marry until his cunning
daughter Kate has found a husband. When Kate marries, Bianca (sisters) is united with her
lover named Lucentio. Overdramatically, Bianca is the Shrew in love. Unlike Kate, she,
Bianca is very compliant and sweet-tempered that caused her to have a good number of
suitors. Her father however announced that no one can marry Bianca until Kate is got
married. Being frantic to come with flying colors by keeping Bianca's hand in marriage, one
of her suitors Hortensio meets his friend Petruchio, also a suitor Kate. Hortensio then tried to
woo her in the disguise of a teacher named Litio. In the meantime, Bianca falls in love with
another suitor, Lucentio-also in the guise of another tutor 'Cambio'. The pair is married and at
the wedding feast, Petruchio convokes a competition between himself, Lucentio, and
Hortensio. They each calls on for their wives and decides whoever's wife responds the most
obediently wins. In spite of Lucentio's faith in her obedience, she (Bianca) does not come
when summoned showing her too business. When she was compelled to be brought to
Lucentio by Kate, Bianca emphasized that her husband was a fool to set store. In fact, the
freedom in relationships has turn over a new leaf here again. So, the wit and love jus goes
together in the two siblings’ attitudes.
Thereafter, let us discuss about Celia, one of the important characters of Shakespeare's As
You Like It. Here, it is Love which is enough to change one’s own character from evil to good
as it can win everything certainly. It is definitely contemporary. Celia is very beautiful
woman in this play. Rosalind is her cousin, a sweet sister of her. But they are more or less
pretty to each other. Orlando, the hero appreciates them separately regarding their beauty-

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'fair and excellent ladies'. Celia is small in sage than her cousin and less magnificent in
appearance. She has a mild appearance mutual with a habitual grim appearance. Hence
Rosalind addresses her as 'my pretty little coz', as well as 'sad brow and true maid'. Indeed,
Celia's love for Rosalind was like divinity as they were very much intended to do what is
needed to remain united in a life. Le Beau, the courtier, explains their love as 'dearer than the
natural bond of sisters'. This demonstrates that her love for cousin is pure and supreme.
Characteristically, Celia is introvert and reserved. She is more conservative than Rosalind
even, more worldly and prudent.

Celia's love for Oliver is abrupt, passionate and out of control, despite the facts of Oliver's
past wicked deeds. Relating to this, it should be kept in mind that love in Shakespeare is an
unreasonable passion. Their love is certainly one of examples of impulsive romance.

Oliver seems to have fallen in love with Celia as Aliena at the outset, he beholds and talks
with her, and Celia seems to swiftly reciprocate his feelings and negotiable to marry him.
Nonetheless, it is not Oliver's appears too much as her knowledge of his pretty new
character that provokes Celia's passions of love for Oliver. We came to know when Rosalind
primarily falls in love with Orlando. They are dearly loved and admired, as well as the rest of
her father's court. In fact, we observe that unlike other examples of love at first sight,
Shakespeare is depicting Celia's lover for Oliver being related to logical reasons rather than
unimportance.

Matrimonially, the smatter of Celia's marriage with Oliver has been criticized by many
critics. Stopford Brooke argues that this marriage is next to probability because it seems to be
bizarre that Oliver should alter in a moment from the scoundrel. Notwithstanding that, her
marriage with Oliver never brings any disgrace to her nature. Oliver was not a good character
but has adjusted into a good one by an unexpected blow. So, their marriage is not a spot on
her character.

In the contemporary perspectives with different interpretations, It has been recommended that
Celia's role in the play is "dissident", because she adds to the sexual impediments of the plot
by her companionship with the cross-dressing Rosalind. She, Celia, successfully puts up for
home with Rosalind in the forest, needing no male company, and her marriage to Oliver may
be considered as a means of extending their affiliation rather than the result of any love she
feels for him. Certainly, it is contemporary.
Rosalind is the heroine and protagonist of the play As You Like It by William Shakespeare.
Shakespeare deals with the nature and manifestation of Love in all of his comedies. Love
was a significant issue in his days. Personally making a love coming out from the familial or
social hard and fast rules was the normal tendencies found in his writings. However, some
kinds of love were signified here like: Romantic and courtly love, Bawdy and Sexual love,
Unrequited love, Sisterly and brotherly love and Fatherly love. With all of these kinds here,
wit and beauty of mind and body are worth mentioning. At the outset of the play, Orlando
and Rosalind meet up and fall in love at first sight that are undoubtedly a common
phenomena between romantic leads in a Shakespeare comedies.

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In Romantic and Courtly Love, Shakespeare demonstrates the central affinity of relationship
between Rosalind and Orlando. These two characters fall in love all on a sudden and their
love is expressed in love poetry and in carvings on trees. It is a chivalrous love but is fraught
with obstacles accelerating to be overcome. This kind of love is destabilized by Touchstone
who narrates this type of love as deceitful; “the truest poetry is the most feigning”. (Act 3,
Scene 2). Within these times, Orlando has been to overcome many impediments to be
married as his pure love is tested by Rosalind and verified to be genuine. Yet, Rosalind and
Orlando only met a couple of times instead of the disguise of Ganymede. But, it is difficult to
say whether they truly know one another. On the other hand, Rosalind is not unrealistic and
enjoys the wooing side of romantic love. Even, she is conscious of geniuses and that is why
she tests Orlando’s love for her. We know that Romantic love is not enough for Rosalind
rather she requires to know that it is deeper than that.
Plus, to consider Bawdy, Sexual Love, one needs to say about Touchstone and Audrey, other
characters. They act as the frustration giver to Rosalind and Orlando’s characters. They are
disparaging about romantic love and their relationship that is intensified more on the physical
side of love; “Sluttishness may come hereafter” (Act 3, Scene 2).
In Shakespeare’s Julius Caesar, the dedication of Cleopatra towards each other is remarkable
and the fine example of everlasting love. She was a ruler, a mother and a lover in his family.
But, primarily, they were engaged in a dangerous game regarding their incoming baby.
Politically, When she was 21, she met Caesar-age 52, the king of then Egypt. They became
lovers during his staying in Egypt between 48 BC and 47 BC.
The witty girl, Cleopatra asserts that Caesar is the father of her son that is growing up in her
womb and consequently, she wished him to name the boy as his heir; but Caesar just showed
his negativity choosing his grandnephew Octavian instead. The people of Rome clearly knew
this relationship between them that caused a scandal that the Roman dictator was already
married to Calpurnia. Nevertheless, Caesar even erected a golden statue of Cleopatra entitled
as Isis in the temple of Venus Genetrix near the Forum Julium.

Cordelia is an imaginary character in William Shakespeare’s tragic play, King Lear. She is
the youngest among King Lear’s three daughters, and she was his favorite. When her aged
father offers her the chance to confess her love to him to get one third of the land in his
kingdom, she expresses her gratifications and love only as a father, not more or less than that-

Unhappy that I am, I cannot heave

My heart into my mouth. I love your majesty
According to my bond, no more nor less. (Act-1, Scene-1, Page-4)

Thus talking directly and truly, she was rebuked and considered less from the other flattery
girls. Her father could not differentiate the value of love and property. Later, Lear cries out
on the dead body of Cordelia at the latter part of the story.
Extramarital Loves of Goneril & Regan
In King Lear, pure love is totally absent and wit I meant conspiracy and flattery has the major
influences. Goneil Regan and the lovely Cordellia are three daughters. They try to win their

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father’s heart in the love contest. Cordellia was totally true to her expression but the rest of
the two were flattery. Regan said,
"Sir, I am made
Of the self same metal that my sister is,
And prize me at her worth. In my true heart,
I find she names my very deed of love;
Only she comes too short, that I profess
Myself an enemy to all other joys,
Which the most precious square of sense possesses,
And find I am alone felicitate
In your dear highness' love."
All the above sentences were full of flattery. They made the conspiracy being with the main
villain Edmund to capture all the properties of King Lear. They made an extra marital love
even after having the own husbands. On the other hand, Cordellia was embedded in her
integrity. She would love her father only as a father not more or less that. So, there is a pure
childish love for her father King Lear which is evil to Goneril and Regan. In the words of
Edmund, the villain, the dishonesty and lustfulness of Goneril and Regan become clear:
“To both these sisters have I sworn my love;
Each jealous of the other, as the stung
Are of the adder. Which of them shall I take?
Both? one? or neither? Neither can be enjoy'd,
If both remain alive: to take the widow
Exasperates, makes mad her sister Goneril;
And hardly shall I carry out my side,- ”

Indeed, there was a ‘Courtly Love’ between Goneril and Edmund. In ‘courtly love’, there
goes a romance focusing on the physical illusions except the emotional. It was presented
sinfully between them. Regan is just the follower of her sister. She also wanted to make the
love like her sister. Technically, she said to know the real language of his mind:

Now, sweet lord,

You know the goodness I intend upon you:
Tell me--but truly--but then speak the truth,
Do you not love my sister?
At last, Jealousy, murder and suicide took place among them and they died cruelly. Actually,
Goneril’s aggressiveness is a rare mannerism for a female character in Elizabethan literature.

Cleopatra, in Antony and Cleopatra, always had an aristocratic love. She was the queen of
Egypt and the mistress of Julius Caesar, king of Rome, until he was assassinated in 44 B.C.E.
After the death of Caesar, Mark Antony started sharing an uncomfortable coalition with
Gaius Octavian who was the Caesar's grandnephew. Besides, the army general Marcus
Lepidus had also a connection with the rulers of the Roman Empire. Looking for a powerful
political collaborator, Antony provoked Cleopatra to Tarsus in Turkey in 41 B.C.E. for a

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meeting that was legendary. Though she was normal looking, Cleopatra had a charming
presence and was recognized for her cleverness and wit at a time with her ruthless aspiration.
Antony was enamored right away and went after Cleopatra back to Egypt. Octavian of Rome
was justifiably annoyed, since Antony had previously got married with his sister, Octavia, to
strengthen his rank and file. He began showing Cleopatra as a gluttonous temptress having
turned Antony into a feeble puppet. Octavian announced war between the two lovers that was
concluded in the Battle of Actium in western Greece in 31 B.C.E. The army of Antony and
Cleopatra just defeated the Octavian army but as a supreme controller of Roman Empire,
Octavian captured all in Rome. Consequently, the couple managed to flee in the Egypt. Later,
Octavian compelled them to surrender under his power invading over Egypt. During the
concluding thrashing off against Octavian in Egypt, Antony received false information that
Cleopatra had committed suicide. Antony being conquered with grief pushed a sword into his
stomach. His men carried him to where Cleopatra was hiding. Thereafter, Antony died in her
arms. Afterward, Cleopatra was taken prisoner. Legend says that it a poisonous snake was
thrown into her cell and placed it upon her chest where it delivered a fatal strike. She died
with the pain of poison and the grief for Antony. That was an accident in the history of love.
After all the happenings, Cleopatra was buried next to her beloved where they lay together
for eternity. In fact, we may say this as a political love and tragedy.
In addition, Hermia is an imaginary character in Shakespeare's A Midsummer Night's Dream.
She is an Athenian. It is said that she is shorter than Helena. Hermia is just caught in a
romantic mistake but she loves one man, Lysander, yet she is loved by Demetrius whose
mind-sets she does not give back. Hermia likes Lysander yet her father, Egeus, wants her to
marry Demetrius. Her refusal of her father’s order that she will have to face death unless
listening to him by Athenian law, makes the situation much more unsteady. As a result,
Lysander and Hermia fled into a forest but on the way they met Demetrius' former fiance as
well as Hermia's best friend Helena whom Demetrius neglected to woo Hermia. Helena is
still seriously hopelessly in love- “Love looks not with the eyes, but with the mind; /And
therefore is wing'd Cupid painted blind- Protagonist Helena’s unrelenting love for Demetrius
in A Midsummer’s Nights Dream goes beyond the physical, as she is hooked on Demetrius
despite his faults and foibles, yet Hermia informs her not to worry because Lysander along
with she will elope and Demetrius will no longer have their faces again. Helena discloses
Demetrius in the hope that he will understand her love for him if she lets him know the truth,
but Demetrius invokes Hermia and Lysander into the forest with Helena.
Helena declares her love after a scene in which Demetrius tries to get Helena to stop
following him and Oberon orders his sprite, Puck, to place a drop from a magical flower on
the sleeping Demetrius' eyelids so that he will fall in love with Helena when he wakes (Fairy
King), who has been watching the whole time, after becoming imperceptible to humans.
When Lysander sets his sights on Helena, Lysander falls in love with her instead. Puck
mistakes Lysander for Demetrius. Oberon places a drop of the magical flower on Demetrius'
eyes and sends him chasing after Helena with Lysander after realizing the mistake. Helena
accuses Hermia of being part of a cruel joke when both Demetrius and Lysander chase after
her and Hermia feels betrayed by the accusation and retorts that she would never hurt her
friend that way. Helena believes that the two are also mocking her, along with Hermia

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because Lysander and Demetrius's love for Hermia was so great. Here, we find the magical
love and comedy of error.
Hermione is the honest and beautiful Queen of Sicilia. She apparently dies of grief just after
being vindicated by the Oracle of Delphi, but is restored to life at the play's close being
falsely accused of infidelity by her husband, Leontes, The nature of Hermione shows what is
never set up in the other sex yet, sometimes it is often called the tenderness without
weakness, love without passion, and dignity without pride. Hermione is good and beautiful,
and royally descended queen, a matron, and a mother. A grand and gracious simplicity, a
majestic sweetness, without forcefulness, an easy, yet dignified self-possession are found in
all her deportments and words she utters. It has been said proverbially that "still waters run
deep" and that is why, she is one of those characters whose passions are not vehement rather
in her settled mind love or resentment, the sources of pain or pleasure, are like the springs
which generates the mountain lakes with impenetrable, unfathomable, and inexhaustible
ways.
Hippolyta, in William Shakespeare's A Midsummer Night's Dream, has the best portrayal. In
Act I, Scene 1 she and he talks about their comming wedding, which would be held under the
new moon in four days. Theseus announces to Hippolyta that, though he "wooed her with his
sword," he would marry her "with pomp, with triumph, and with reveling" and promises to
begin a celebration that will continue until the wedding. This play is unusual in its portrayal
of strong women. Hippolyta, in particular, is strong, coming from a tribe of brutality,
empowered women for that she was the queen. In a feminist psychoanalysis, Louis Montrose
argues: "Amazonian mythology appears emblematically to represent and to manage a
communal fretfulness about the power of a female not only to dominate or reject the male but
to create and destroy him. Next, a love of a woman by showing an absurdly physical strength
is found in this time. Hippolyta, in William Shakespeare's A Midsummer Night's Dream, is
occupied to Theseus who is the duke of Athens. She along with him discusses their rushing
wedding that is going to be held under the new moon in four days as it is found in act I,
scene-1. Theseus states to Hippolyta that he will marry her "with triumph, with pomp, and
with reveling" and swears to start on a merriment that will carry on until the wedding though
he "wooed her with his sword," This play is strange in its portrayal of strong women.
Particularly coming as she does from a tribe of fierce, Hippolyta is strong, empowered
women of that she was the queen. Louis Montrose, in a feminist analysis, contends:
"Amazonian mythology appears emblematically to exemplify and to control a collective
nervousness about the power of a female not only to dominate or rebuff the male but to create
and destroy him." Hippolyta magnetizes Theseus with her feminine allure and appeal to such
a degree, on the other hand, that he is completely fanatical with her, in spite of her forceful
nature, after that, she becomes the point of Theseus' passion. Theseus is laying down his
sword, "the weapon which gave him power and authority over her," and essentially
surrendering by marrying Hippolyta. At last, Hippolyta has supplemented to her power, being
the queen of a new realm, Athens.
So, love of a woman by showing an absurdly physical strength and therefore, gaining the
royal power are the main characteristics of this marvelous story. But, it seems that there are
some absurdities in the portrayal of a female character because women are naturally weak by
their physical strengths. They can be very dangerous when they have the wealth and power in

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their hands. Then, they become icon of extremism. Notwithstanding having the power of
kingship, she is very innocent with her lover as well as husband. She won Theseus with her
love. In fact, the women have every kind of power that has been bestowed by the almighty
God. Similarly, we find a connection with the lines of Rabindranath.-
‘The girls will start ruling if the boys leave the domination. Feeble person’s ruling is
very dangerous. Consequently, the guys presented in the meeting asked, ‘What did
you mean?’
Amit said, the side having the chain, tie the bird with it that means with strength and
power.
The person who has no chain just tie with drugs or illusions else. The chainer ties but
does not make illusion. Besides, the druggist both ties and make illusionary.”
(Translated from Shesher Kobita by Rabindranath Tagor)
Imogen, "perhaps the most tender and the most artless" of all Shakespeare's women was the
daughter of King Cymbeline in Shakespeare's play Cymbeline. She was depicted by William
Hazlitt as Imogen is princess of Britain, and the righteous wife of the banished Posthumus,
whose admiration of her ethical purity incites Posthumus's acquaintance Iachimo to bet
Posthumus that he can seduce her. When he fails, Iachimo conceals in her bedchamber and
exposed her body while she sleeps, looking details of a mole on her breast which he then
explains to Posthumus as evidence that he had slept with her. Posthumus intrigues to kill his
wife, nevertheless, the nominated killer reveals the plot to Imogen and recommends her to
hide; she flees to the woods disguised as a man and falls in with a family who helps her. So
here, the cunningness of the villain and wit and beauty of the girl are exposed.

Isabella, Measure for Measure, is a novice, sister to Claudio. Critics have held diabolically
contrasting views of Isabella's character. She is a woman of great virtue and superb purity.
One faction beholds her as one of Shakespeare's mighty and preeminent female characters.
They point to her luminous speeches with Angelo on Christianity, mercy, and power. To her
fiery denunciation of Angelo's disloyalty and her brother's cowardice, she is seen as the figure
of goodness and kindness set against a backdrop of moral decay. The other faction perceives
her as self-righteous and hypocritical. They point out that she seems little apprehensive by
her brother's misdemeanor but is too aghast of consigning the same transgression herself.
Even to save her brother's life, she apparently undergoes no qualms, still, in inquiring
Mariana to share Angelo's bed.

Her indisputable friendliness for Claudio might also clarify her failure to respond with horror
upon learning of his crime. For this, Angelo to beg mercy for Claudio and then, she
articulates her conflicting feelings of revulsion for the crime and love for the man:
There is a vice that most I do abhor,
And most desire should meet the blow of justice;
For which I would not plead, but that I must;
For which I must not plead, but that I am
At war 'twixt will and will not. (II. ii. 29-33)

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Julia and Love: At the beginning of the play- The Two Gentlemen of Verona by Shakespeare’,
Julia looks like she's just as unable to make up her mind as several of the other personalities –
she can't seem to resolve whether or not she'll let herself to fall in love and that is why, she
asks her serving lady,-"But say, Lucetta, now we are alone ,/ Wouldst thou then counsel me to
fall in love?" (1.2.1-2).
After some lines, she exclaimed with wonders thinking who should be the lucky guy:
"Of all the fair resort of gentlemen
That every day with parle encounter me,
In thy opinion which is worthiest love?" (1.2.4-6).

Julia's indecisive actions carry on throughout the scene, where she tries really hard to hide her
true passions for Proteus by giving back a love letter, altering her mind, and afterward
proceeding to tear it up to demonstrate that she doesn't care about love (1.2). Julia is not the
only character to behave strangely. Shakespeare's point might be that love makes us do
strange things, particularly when we try to conceal our feelings. Likewise, she turns out to be
pretty resolute in her devotion to her boyfriend, Proteus. When Proteus started for Milan, she
determines to be with him and risks the whole thing in the way.
Juliet Capulet is the female character and one of the two ostensive figures in William
Shakespeare's romantic novel of love and tragedy Romeo and Juliet. Juliet is the only
daughter of Capulet who is the patriarch of the Capulet family. The story has a long history
that explains Shakespeare himself. The play holds over for five days of time span. Only
within these few days, Juliet is force into adulthood quickly. Juliet was to deal with facts of
life such as Romance, Loss, and even Death. Throughout the play, she is encouraged by a
impending husband, Count Paris, but strappingly falls romantically in love with another
Romeo who is the only son of her family's enemy, marries Romeo secretly, experiences the
death of her first cousin Tybalt, has one brief passionate, romantic night with her new
husband before he is forced to leave the city, is threatened by her father and nearly disowned
by both of her parents for refusing to marry the man they have chosen for her, she is let down
emotionally by the nurse who raised her from infancy, spends nearly two days drugged to
unconsciousness. When Romeo found out he thought she was dead and drank poison to meet
her in the afterlife.
Shakespeare's Juliet is a determined and intellectual character in spite of her young age. She
habitually seems timid to the audience because of her young age. She is believed by many to
be the actual hero of the play. Performing as an echoing board, she keeps a balance against
the impetuous Romeo. She sets the boundaries of actions in her association with Romeo. She
lets him to kiss her; she pledges her promise before him as well as she proposes to their
marriage. Juliet's forgiveness of Romeo after he kills Tybalt who is the short-tempered first
cousin, points out her mature nature in contrast to his infatuated impulsiveness. Furthermore,
Juliet lies and clandestinely stabilizes her family's wishes, a truly mutinous action against the
conventional Italian society. These actions made Juliet a more complex character than her
family.

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Like many other of Shakespearian comic play, The Taming of the Shrew features a lady as
one of the story's protagonists. Katherine Minola is a scorching, resolute woman and in this
way, the male dominated society is deceived about what to do with her. As far as we know,
she is an over dominating female character by her wits and temper. Her family forces her to
marry but she remains in her own decision. Kate is the title character (the "Shrew") of the
play. She is the eldest and unmarried daughter of Baptista Minola. In fact, no man wants to
interfere in anything with her because she slaps people around when they make her mad
getting hot tempered, and slices men to bits with her blade sharp tongue. Her aptitude for
verbal banter and aptitude to call it like she sees it discloses her incredible wit and
intelligence that we appreciate.
Negativity in wit is also found in the character of Lady Macbeth by Shakespeare. She is the
most dominating negative character in Shakespeare’s tragedy named Macbeth. She provokes
Macbeth to invite the great king Duncan and kill her brutally in the dark night. She managed
everything of Macbeth by her witchery intensions. But finally, she had been suffering by the
evil mentality that led her to the way of death. Here, we find the wickedness of Lady
Macbeth instead of love and beauty. She just lustfully destroys the innocence of Macbeth and
whole dynasty of him only to capture the whole kingdom of King Duncan. The great
philosophy of human life reveals by the words of Macbeth when he was in front of the dead
body of Lady Macbeth-
She should have died hereafter.
There would have been a time for such a word.
Tomorrow, and tomorrow, and tomorrow,
Creeps in this petty pace from day to day
To the last syllable of recorded time,
And all our yesterdays have lighted fools
The way to dusty death. Out, out, brief candle!
Life’s but a walking shadow, a poor player
That struts and frets his hour upon the stage
And then is heard no more. It is a tale
Told by an idiot, full of sound and fury,
Signifying nothing. (Act-5, Scene-5, Page-2)

Lavinia in Shakespeare’s Titus Andronicus is the agonist and an avenger. She is the only
daughter of Titus Andronicus. Once, she rejected Saturninus's offer to make her his empress
since she is in love with Bassianus. But unfortunately, she is brutally raped and disfigured by
Chiron and Demetrius in the forest at the time of hunting. Therefore, she is furious and ready
to take the vengeance for being deprived by every means of oddity and destroying her most
precious chastity. So, she comes across as one of Shakespeare's most debilitated heroines.
Notwithstanding this, her narrative and thematic importance escalates as she is physically
pared down, drawing our attention to the importance of pantomime on the stage. The rape of
Lavinia is unquestionably the innermost and most horrific misdemeanor of the play and that
is why, Edward Ravenscroft's adjustment of the play has the interchanged name of "The Rape
of Lavinia." For this reason, her character invites especially careful scrutiny. Indeed, the
accidental losing of chastity by being raped is the reason of her to be an avenger. Here she

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could have the love for someone, to give her all but the flower was blushed unseen and she is
thus, a mournful character here.
In Shakespeare’s Tempest, Miranda is the daughter of Prospero who feels excited that
Miranda and Ferdinand seem to like each other. But, Miranda cannot understand why her
father is becoming so hasty with Ferdinand. She has a very soft corner for Ferdinand fallen in
love at first sight with him.
Ferdinand and Miranda affirmed their love in Act 3 Scene 1- “I am the best of them that
speak this speech” (Act 1, Scene 2) Prospero has intended all along for he and Miranda to fall
in love. Nevertheless, her father considers it important to test Ferdinand’s loyalty by saying-
“lest too light winning / Make the prize light” (Act 1, Scene 2).
Olivia is a fictional character from William Shakespeare's play Twelfth Night. She is a
beautiful lady of noble birth who lives in Illyria. Because of her wealth and beauty Olivia
attracts various men who wish to marry her. Duke Orsino loves her very much but she never
pays any attention to him, the duke rather she falls in love with the messenger of the duke
Cesario (Viola). It is a matter of great fun that Olivia is totally impressed with the appearance
of the messenger and fall in love with him (her). At the time of their conversation, Olivia falls
in love with Orsino (Viola). Olivia becomes impressed awfully. She is in a great fantasy
having her sweet voice, tone and his manner of speaking. Dramatically, Shakespeare has been
able to draw the attentions of the readers by his power of comic creations. It surpasses the
record of all dramas of his age and has achieved a supreme priority in the contemporary ages.
Olivia is very romantic here as the nature is the teacher to her. She likes a man (a women in
disguise) and he (she) is very sweet and sophisticated but not in a position to make woo with
her (Olivia). She is the ultimate philosopher of the real comedy. She knows not to loss love
and aspires for the impossible bliss of love and happiness. When romanticism comes into
anybody’s mind he or she might be very emotional and bewildered. So is Olivia here. Her all
the emotions are flying in her bright sky of mind. In his sky, a beautiful face was weaving
and she was wandering in his state of romanticism. Olivia is really a passionate girl and has
ecstasy in her heart. She said to herself when Cesario left,
“Thy tone, thy face, thy limbs, action and spirit
Do give the fivefold blazon.
Not too fast: soft! soft!
Unless the master were the man.” (Act-1, Scene-2)
However, mistakenly by a coincident, she marries Viola's twin brother, Sebastian. since
Sebastian and his sister (Cesario in disguise) are extremely similar.
Consequently, Viola, another elegant character female character in this story, likely falls in
love with the duke Orsino and has been able to get married at last when all have been
revealed. She was also in the fantasy kingdom of love for duke Orsino that was ended at last
also after their being married. In fact, the Comedy of Errors has been exposed with all the
characters here in this story with wit and beauty of love and wit.

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Thereafter, Ophelia is a character in William Shakespeare's play Hamlet. She is a young
noblewoman of Denmark, the beloved daughter of Polonius, sister of Laertes, and possible
wife of Prince Hamlet. She is one of two major female characters in the play.
"I say we will have no more marriages", and exits. Ophelia is totally bewildered as well as
heartbroken thinking that Hamlet has gone totally insane. Indeed, everybody was thinking
that Hamlet has gone mad only because of not loving her. But we the readers know that he is
in the disguise of crazy man only to take the revenge over the murderer of her father Late
Hamlet.
Later, she suddenly died that is thought as ‘doubtful death’ whether it is a suicide or a death
by any accident. She died because of some reasons like her father’s accidental death by
Hamlet, her hero, the refusal of her love by Hamlet etc. Like prince Hamlet, she went very
crazy and started doing the absurd things by reciting and singing peculiar poems or songs
after her father’s death and hamlet’s refusal. She recites "mad" and bawdy songs about death
and a maiden losing her virginity. Then she went out after bidding everyone a "good night."
In Act 4 Scene 7, Queen Gertrude informs that Ophelia had climbed into a willow tree but the
branch had broken that dropped Ophelia into the brook. She was drowned into that brook.
Later, a sexton at the graveyard emphasized that Ophelia must have killed herself. Laertes,
late Ophelia’s brother, became so angry and resolved to kill prince Hamlet as revenge. This
way, the love of Ophelia got its pathetic reward by the fate. Death becomes her only
destination.
During Ophelia's funeral, Gertrude sprinkles flowers on Ophelia's grave-"Sweets to the
sweet", as well as wishes that Ophelia could have been Hamlet's wife. Laertes then jumps
into Ophelia's grave excavation, asking for the burial to wait until he has held her in his arms
one last time and proclaims how much he loved her. Hamlet, nearby, then challenges Laertes
and claims that he loved Ophelia more than "forty thousand" brothers could-
“HAMLET
I loved Ophelia. Forty thousand brothers
Could not with all their quantity of love
Make up my sum. What wilt thou do for her?” (Act 5, Scene 1, Page 12)
After her funeral scene, Ophelia is no longer mentioned.
Anyway, Gertrude in Hamlet Gertrude is the mother of prince Hamlet. She is also a very
sexual being in some critics’ eyes that turns Hamlet so violently against her. The Ghost
informs Hamlet that is already disgusted with his mother for marrying his (Hamlet’s) uncle in
within very short time after his father's death. That ghost also gives even more disturbing
information about the Queen:
Ay, that incestuous, that adulterate beast,
With witchcraft of his wit, with traitorous gifts,--
O wicked wit, and gifts that have the power
So to seduce!--won to his shameful lust
The will of my most seeming-virtuous queen. (I.V.42-5)

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Many critics misinterpret the line "adulterate beast" as the evidence that Gerturde had been
the lover of Claudius even before Hamlet's father had died. This would make the Queen a far
more loathsome character than Shakespeare had intended, and the rest of the play makes no
mention of this adultery. Adulteration means to alter to an inferior state by incorporating to a
contaminated base matter. And Claudius has indeed, according to the Ghost, contaminated
his precious Gertrude, but this does not mean that Claudius did so before Hamlet's father
died. After the Senior Hamlet is killed, she is just got married with the Claudius, his hasty
uncle, a villain- Bloody, bawdy villain! / Remorseless, treacherous, lecherous, kindles villain!
(Said by Hamlet, Act 2 Scene 2 Lines 605-616). About his mother Gertrude, he utters:

“By what it fed on, and yet, within a month—

Let me not think on ’t. Frailty, thy name is woman!—
O God, a beast that wants discourse of reason
Would have mourned longer!—married with my uncle”
Love's Labour's Lost is one of William Shakespeare's initial comedies it, the longest single
word 'honorificabilitudinitatibus' (5.1.39–40). This means "the state of being able to achieve
honours"
Portia is a prominent and appealing heroine in Shakespeare's mature romantic comedies. She
is quick-witted, rich, intelligent, beautiful, gracious and romantic character in the drama
named The Merchant of Venice. She conveys her father's will faithfully and seeks to attain
Bassanio’s success. She imposes skill to the Princes of Morocco and Aragon who
ineffectively seek her hand. Significantly in the court scenes, she hits upon a technicality in
the bond, thus outwit Shylock and saving Antonio's life where everyone else totally fails. She
is remarkably saved Antonio from the dishonest Shylock’s jaw or plot. Philosophically, she
delivers the most famous speeches in The Merchant of Venice:
"The quality of mercy is not strain'd.
It droppeth as the gentle rain from heaven
Upon the place beneath. It is twice blest:
It blesseth him that gives and him that takes."

However, she takes the high risk in saving Antonio’s life giving skillful logics. When
Antonio is in the complex net of Shylock’s conspiracy, he seeks the last visit of Portia- "I'm
screwed, and I owe Shylock my life, which he'll have. / Please come and visit me before I
die, since / I'm sacrificing my life for you. / Love, Antonio."
Though Portia has not any formal legal training, she wins her case by arguing over the details
of loyal justice. Her triumph relates the prevailing on technicalities more willingly than the
merits of the situation, the wit. When Portia enters into the Venetian court being disguised as
a young law clerk, she resolves to save Antonio based on her technicalities of logic. Shylock
requires a pound of flesh from the body of Antonio, mostly from the side of his heart, as
recompense. Her love and wit got their freedoms by the arguments she went through-
“PORTIA
But wait a moment. There’s something else. This contract doesn’t give you any blood
at all. The words expressly specify “a pound of flesh.” So take your penalty of a

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pound of flesh, but if you shed one drop of Christian blood when you cut it, the state
of Venice will confiscate your land and property under Venetian law.” (Act-4, Scene-
1, page-13)
So get ready to cut off the flesh. Don’t shed any blood, or cut less or more than
exactly a pound of flesh. If you take more or less than exactly a pound, even if it’s just
the tiniest fraction of an ounce—if the scale changes by even so much as a hair, you
die, and all your property will be confiscated.” (Act-4, Scene-1, page-14)

“SHYLOCK
Give me my money and let me go.” (Act-4, Scene-1, page-14)
The other foremost subject of Shakespeare’s play is love. Amongst the several topics
presented in The Merchant of Venice, the nature of true love is the most important thing. He
upholds love in all its aspects. Antonio towards Bassanio has a friendship, Portia and
Bassanio have ecstatic romanticism and self love is shown through Shylock. But on the
whole, the theme of romantic love goes as a connotation in the play. Portia is rich but lonely.
The top secret to her heart is the casket. The writer, Shakespeare, demonstrates the reader
how different people seek true love through a diversity of suitors as to the caskets. He also
shows the most important activities of the suitors and in some facts, it is not true love, but
material things and outward appearance. The first suitor tries to win Portia's hand. He is the
Prince of Morocco. Shakespeare portraits him as an narcissistic man concerned with outward
appearance but true love. Portia has a very soft corner and falls in love with Bassanio and
proves her love by indicating indirectly in which casket the key to her lonely heart has.
Shakespeare also shows that love has no boundary. It transcends all edges and, for example,
the daughter of Shylock Jessica, being a Jew, elopes with Lorenzio, a Christian. At the time
of writing this story, “The Merchant of Venice”, he fashioned a female character that has
very influential part in the play. In the Merchant of Venice, Portia saves the life of a man
using her wit. Similarly, Beatrice in ‘Much Ado about Nothing’ has almost the same
character. Both of these ladies proceed through the main streams of the plays with of their
brains, and smart remarks, as well as showering love and care.
In fact, The Merchant of Venice is a marvelous play having theme of both love and hate.
Shakespeare develops these emotions by the Jewish and Christian characters and the
situations for the play, Belmont and Venice. Love and Hate are the basements of the play and
collectively they form the stream of dominant theme. (M G. Sing)
In Shakespeare’s writings, we, the audience, are provided the opportunity to settle on which
kind of love is more honest. Courtly love could be made out as superficial, relaying on
manners and manifestation as opposed to bawdy love that is obtained as cynical and base but
truthful.
The character of Tamora is very pathetic in Shakespeare’s Titus Andronicus. She is the queen
of the Goths but she is brought to Rome as a prisoner by Titus after a mighty battle. She begs
him not to kill her son Alarbus but he did not pay any attention to her and kills Alarbus.
When he does this heinous act, she swears to take revenge against him. When Saturninus, the
Emperor of then Rome, takes her as his wife and thus she gains the opportunity to take
revenge, and helps Chiron Aaron and Demetrius, since they also take revenge for Alarbus

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through the rape and mutilation of Lavinia. Besides, the deaths of Quintus and Martius and
the exile of Lucius were also made by them. She accomplishes all these cruel activities being
an extreme avenger. this through her good looks, sensuality, and ability to manipulate those
around her. We see her pleading to Titus at the time of her son’s execution-
Victorious Titus, rue the tears I shed,
A mother’s tears in passion for her son.
And if thy sons were ever dear to thee,
O think my son to be as dear to me. (Act 1, Scene 1)
Revenge it as you love your mother’s life,
Or be you not henceforth called my children. (Act 2, Scene 3)
Tamora's Affair with Aaron can also be expounded again. Because of her revengeful
purposes and to gain power, she made a lustful decision. Her marriage with Saturninus
doesn't indicate that she is going to leave her super-secret and super-steamy affiliation with
Aaron. They see her extramarital affair as a "detested" act when Bassianus and Lavinia catch
her and Aaron in the woods:
Believe me, Queen, your swart Cimmerian
Doth make your honor of his body's hue,
Spotted, detested, and abominable (2.3.2)
In addition, the Three Witches or Weird Sisters or Wayward Sisters are the evil characters,
most probably the dark intentions of human minds which are the symbols of evil instructor of
Macbeth. They misguided Macbeth using his land capturing mood and of being a king of
Scotland. They would give prophecy to Macbeth in every step he took. But, they were the
evil witches who are in nobody’s good deeds but the bad ones. Their actions are considered
as the dark approaches of women minds just like the Lady Macbeth.
Titania, however, is a character in William Shakespeare's play A Midsummer Night's Dream.
She is the Queen of the Fairies. Also, she is the wife of Oberon and vigor to be reckoned of
fantasy and magic. When we first meet Titania, we found that she's a congenial queen that
invites Oberon to dance with her yet, she's still sassy. She sticks by her guns and reluctant to
leave the little Indian boy she's raising. This way, she is protecting her love and honor. We
learn that Titania is disappointed about the natural order that has been upset by her as well as
Oberon's quarrel. Nevertheless, compromising herself, she tells Oberon that he should take it
trouble-freely already with his stipulations for the little boy.
Titania, we know, vanishes when she turns out to be the fawning creature in love with
Bottom. Though Titania is arguably the most influential woman in the play, she is subjected
to the machinations of men like all the other women. Notwithstanding this, Titania's is not
quite a remark on the nature of women since she is the only woman in the play who is
essentially enchanted. Anyway, when she is freed by Oberion from the spell and doesn't
exactly light into Oberon for his horrifying dealing with her.
Indeed, she is not exactly a model feminist or an emblem of feminine domination. But,
she is a new appealing case study if we want to have a look over her romantic relationships.
In spite of her marriage to Oberon, they spend relatively a bit of time separately and have
several non-spouse overnight guests at the time of the process. The interesting thing is that

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this doesn't seem to really inconvenience to either of them that much. Oberon even walks off
so far as to trick his wife into doting on another creature.
It is interesting also thinking in this way that Titania magically falls in love with a "rude
mechanical", Nick Bottom, a labourer. The weaver, Nick Bottom, has been given the head of
a donkey by Puck that feels it is better matched to his nature. Argumentatively, this
confrontation is an inversion of the Circe story. This way, the tables are turned on the
character and she is made to love a donkey after Bottom has been transformed rather than the
sorceress turning her lovers into animals.
Volumnia is a character in William Shakespeare's play Coriolanus. She is the mother
of Caius Martius Coriolanus. She plays a large role in Coriolanus' life, encouraging him in his
military success and urging him to seek political office. At the time when the people of Rome
put her son in exile and he joins their military enemies, she manages to persuade him not to
besiege Rome and becomes a heroine to the city. We can say that she is an agonist in this
story as well as a great political figure. However, she has used her wit but hardly gets
success.
Finally, we can go with Shakespeare’s Othello. Though Othello concludes in tragedy, it is
love which is a prevailing theme. This motivates many of the play's characters into action.
The facts of Love in Othello are both an utilizable virtue and a medium for destruction.
Though Shakespeare focuses less on love in most of his tragedies, Othello is an instance of
how he masterfully manipulates love tragically by causing of misery and sadness only to
disclose his characters' defenselessness. Obviously in Othello, we can shatter down the theme
of love into three types: self-love romantic love, and familial love.
The central character, Othello is a general in the Venetian army. He is mighty and ferocious
on the battlefield yet, he is malformed to a smitten lover in Desdemona's
presence. Desdemona is the wife of Othello who is equally enamored of her. Their love is
cooled in many ways as she is a Venetian beauty coming from a noble family.
Next, Bianca is also in love Cassio. But these undergoing is not mutual. Cassio has a very
whimsical love for her. This can be illustrated clearly as a one-sided romance, and Bianca
eventually realizes this, which fuels her pivotal outburst. The outburst is the scene with which
Bianca irritably waves the handkerchief that was found by Cassio in his quarters but
ridiculously, the same handkerchief was found that Othello recognizes as Desdemona's. In
both of these exemplars, Shakespeare uses romantic love as a means of destruction.

Conclusion:
In fine, it might be said that love in Shakespeare is a recurrent theme which has been come
out in many intellectual ways with beauty and wits. The treatment of love in Shakespeare’s
plays, specially, in the woman characters, is remarkable for the time being. Shakespeare, who
is called as the Bard, intermingles courtly love, compassionate love, unrequited love, and
sexual love with his talent and spirit. He does not relapse to the duo-dimensional
demonstrations of love, typical of the time, rather investigates love as a non-perfect part of

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the human condition. Indeed, with the touch of wit and beauty in his female characters, love
in Shakespeare is a blessing of nature, yet earthy and sometimes uneasy.

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26. https://reviews.wikinut.com/Theme-of-Love-and-Hate-in-Shakespeare-s-Merchant-of-
Venice/gims_mja/

Vol. 3 Issue 4 18 MAY, 2017

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