Can there be a virtue in vengeance? Can revenge do ethical work? Can revenge be the obligation of women? This wide-ranging literary study looks at Shakespeare's women and finds bold answers to questions such as these. A surprising number of Shakespeare's female characters respond to moral outrages by expressing a strong desire for vengeance. This book's analysis of these characters and their circumstances offers incisive critical perceptions of feminine anger, ethics, and agency and challenges our assumptions about the role of gender in revenge. In this provocative book, Marguerite A. Tassi counters longstanding critical opinions on revenge: that it is the sole province of men in Western literature and culture, that it is a barbaric, morally depraved, irrational instinct, and that it is antithetical to justice. Countless examples have been mined from Shakespeare's dramas to reveal women's profound concerns with revenge and justice, honor and shame, crime and punishment. In placing the critical focus on avenging women, this book significantly redresses a gender imbalance in scholarly treatments of revenge, particularly in early modern literature.

This study demonstrates not only that the devices of revenge are structurally useful in comedy, but also that there is a consistent conception of revenge as an ethical social instrument in the comedies of Shakespeare.

"The Tragedy of Titus Andronicus" by William Shakespeare is a gripping and intense drama that explores themes of revenge, betrayal, and the destructive consequences of violence. Set in ancient Rome, the play follows the tragic downfall of the noble general Titus Andronicus and his family as they become embroiled in a cycle of vengeance and bloodshed. At the heart of the story is the brutal conflict between Titus Andronicus and Tamora, Queen of the Goths, whose sons are executed by Titus as retribution for their crimes. In retaliation, Tamora and her lover, Aaron the Moor, orchestrate a series of heinous acts of revenge against Titus and his family, plunging them into a spiral of madness and despair. As the body count rises and the atrocities escalate, Titus is consumed by grief and rage, leading to a climactic showdown that culminates in a shocking and tragic conclusion. Along the way, Shakespeare explores themes of honor, justice, and the nature of humanity, offering a searing indictment of the cycle of violence and the capacity for cruelty that lies within us all.

Women of Will is a fierce and funny exploration of Shakespeare’s understanding of the feminine. Tina Packer, one of our foremost Shakespeare experts, shows that Shakespeare began, in his early comedies, by writing women as shrews to be tamed or as sweet little things with no independence of thought. The women of the history plays are much more interesting, beginning with Joan of Arc. Then, with the extraordinary Juliet, there is a dramatic shift: suddenly Shakespeare’s women have depth, motivation, and understanding of life more than equal to that of the men. As Shakespeare ceases to write women as predictable caricatures and starts writing them from the inside, his women become as dimensional, spirited, spiritual, active, and sexual as any of his male characters. Wondering if Shakespeare had fallen in love (Packer considers with whom, and what she may have been like), the author observes that from Juliet on, Shakespeare’s characters demonstrate that when women and men are equal in status and passion, they can—and do—change the world.

In the first full-length study of Shakespeare's Roman plays, Coppélia Kahn brings to these texts a startling, critical perspective which interrogates the gender ideologies lurking behind 'Roman virtue'. Plays featured include: * Titus Andronicus * Julius Caesar * Antony and Cleopatra * Coriolanus * Cymbeline Setting the Roman works in the dual context of the popular theatre and Renaissance humanism, the author identifies new sources which she analyzes from a historicised feminist perspective. Roman Shakespeare is written in an accessible style and will appeal to scholars and students of Shakespeare and those interested in feminist theory, as well as classicists.

This book, the first to trace revenge tragedy's evolving dialogue with early modern law, draws on changing laws of evidence, food riots, piracy, and debates over royal prerogative. By taking the genre's legal potential seriously, it opens up the radical critique embedded in the revenge tragedies of Kyd, Shakespeare, Marston, Chettle and Middleton.