Monthly Archives: July 2015

Cressida as an Empty Space

I read some reposts on the Shakespeare Standard—a website that I ordinarily enjoy—that I have to admit I found a bit disappointing. In “Misogyny, the case of Cressida (part the last–putting her to bed)“, the author takes the perspective that Troilus and Cressida is a misogynistic play. I’m fine with that, on one level: everyone is allowed their opinion.

What I’m not fine with is the dismissive tone taken by author, as if all he has to do is drop the word “misogyny” and quote some bawdy lines from the play, and we can just all “put this one to bed”: no one needs to bother to read this play again. It’s this kind of dismissive, reductionist approach that gives some feminist criticism a bad reputation. There is and will continue to be brilliant critical responses to literature produced by feminist critics; this is not one of those.

Although the author does a fairly decent job applying recent critical approaches to the body and its representation, his primary mistake is assuming that the words voiced by the characters are Shakespeare’s voice or the purpose of the play. To quote the lines of Diogenes and then argue that the play is misogynistic because the character of Diogenes is misogynistic is the sort of basic, entry-level kind of character criticism that went out with Freud trying to psychoanalyze Hamlet, as if he were a real person. Diogenes is a character; criticism of that character is not a criticism of the play. For example, if Othello is a bad play because Iago is a racist, then we can throw out Othello also, and we would never have any meaningful plays about racism, because a play would never be able to include racist characters. Just characters sitting around a table talking about how bad racism is. That would certainly make for good, engaging drama.

What I would recommend is that the author read Bridget Escolme’s Talking with the Audience, which has a chapter specifically about how Cressida’s character functions in the structure of the play, something which the author never discusses. Rather than attacking characters’ lines and assuming they express the viewpoint of the author or of play, the structure of the play is such that Cressida functions as a mirror into which you as the audience can discover for yourself what it’s like to be a woman traded by men as a prize.

Hmm, wouldn’t that be a more thought-provoking response to the play? She invites your response; she never offers her own (why she betrays Troilus). The choice is yours; you can take a reductionist approach to the play, focusing on the lowest common denominator among the characters as proof that misogyny exists (there’s shocking news!), or you can use the play as an experience of how woman are mistreated and determine your own response. The choice is yours; either option is there. I would suggest however, that the writer of Hamlet—or even more to the point, the creator of the characters of Viola,  Rosalind, Beatrice, and Cleopatra—presents the voiceless character of Cressida with the hope that you will fill in a better response than the one she was historically forced to receive.

Ps: for more complex reactions, including feminist interpretations, a simple Google search reveals: Feminist Approaches When Viewing Cressida’s Character

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I’ve got a couple of things coming up; new posts on my reviews of the Shakespeare Globe’s Titus Andronicus DVD, Globe Tv productions of the Henry VI plays, and I’m going to see Gemma Arterton in The Duchess of Malfi this Sunday at the Sedona Film Festival.

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