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Most moms, like most individuals, lie with purpose. They lie to protect themselves and their children from physical or psychological pain, to avoid confronting traumatic memories, to start over and fashion new identities, to resist the institution of motherhood, or simply because they do not see a reason to tell the full truth. This thesis explores the motives of the mothers in four modern novels.
THIS PAPER LOOKS AT HOW MODERN DIRECTORS AND FILMMAKERS REMEMBER AND REIMAGINE THESE READINGS OF THE PORTER’S ROLE IN MACBETH. THE PORTER’S SHORT SOLILOQUY CONTAINS A MULTITUDE OF TRUTHS THAT, WHEN EMPLOYED CORRECTLY, CAN UNDERSCORE THE PLAY’S BROADER THEMES OF MORTALITY, IDENTITY AND THE REPERCUSSIONS OF SIN.
FRIEDAN WRITES, “THE HIGHEST VALUE OF AND THE ONLY COMMITMENT FOR WOMEN IS THE FULFILMENT OF THEIR OWN FEMININITY” (FRIEDAN). WHILE FRIEDAN POSITS THIS FULFILMENT IN A WAY THAT IMPLIES THAT WOMEN ARE CHAINED TO THEIR APPEARANCES – A NOTION WHICH WAS CERTAINLY TRUE FOR SOME WOMEN, LIKE BETTY – PEGGY FORMS A MODEL OF FEMININITY THAT IS LIBERATING AND UNIQUE TO HER.
IT IS MY GOAL THAT IN ANALYZING HOW SHAKESPEARE ENGAGED WITH HETEROSEXUAL ROMANCE AND MARRIAGE IN THE EARLY MODERN PERIOD, WE CAN SIMULTANEOUSLY ENGAGE WITH OUR PRESENT AND THE #METOO MOMENTS THAT DEFINE IT.
