Sexual Desire in Shakespeare’s Tragedy, Tragicomedy, and Comedy.

The Idea of Sexuality in Shakespeare’s Works

The idea of sexuality has long been a source of debate for both artists and academics. One of the greatest authors, William Shakespeare, produced works that reflect passion. He dealt with the subject of sex and sexuality in great detail in both his plays and sonnets, making it a recurring topic in all of his works. In this essay, I want to show how Shakespeare handles sexual urges differently in the comedies A Midsummer Night’s Dream, The Winter’s Tale, The Moor of Venice, and Othello.

Sexual Desires and Jealousy in Othello

The relationship between a black man named Othello (the general of the Venetian armies) and a white lady named Desdemona (Brabantio’s daughter) is explored in the tragedy Othello. Despite his high position, Othello is an easy prey to romantic anxieties. His insecurity hinges on his race, age, and life as a soldier. He, however, woos and marries Desdemona. Responding to the charges filed against him by Brabantio of having stolen Desdemona, he says; ‘My very noble and approved good masters…I have married her (I.iii.4)’. Iago is infuriated and secretly sets out to win Desdemona for himself. Taking advantage of the general’s emotional instability, he turns Othello’s love for his wife into extremely destructive jealousy and thereby sets him against his lieutenant, Michael Cassio. Ultimately, Othello accuses her of being adulterous before strangling her in their bed (V.ii.200). It seems that the male society in the text sees women as promiscuous and provides hints to why it is easy for Iago to influence Othello into believing his wife is having an affair. Seemingly, men are insecure towards the perceived female romantic power. Their dread is that women may decide to direct it elsewhere. They, therefore, come up with the will to metaphorically bottle it up by all means including killing. Othello’s only way to ensure that he doesn’t lose Desdemona to any other male is to kill her, (Shakespeare, William, and Michael Neill). Ironically, he permanently alienates himself from her.

Jealousy and Reconciliation in The Winter’s Tale

The Winter’s Tale presents another intriguing treatment of sexual desire. Like the above-discussed books, this play depicts sexuality that is jealousy-filled. After convincing his friend King Polixenes (of Bohemia) to stay longer in Sicilia, King Leontes becomes possessed with jealousy. He has a conviction that his friend and his wife, Hermione, are lovers and instructs Camillo to poison Polixenes. His orders come to Polixenes’ knowledge. Camillo reports; ‘I am appointed…to murder you’ (II.i.30). Together, the two flee. Leontes publicly accuses Hermione of adultery and affirms that her unborn child is illegitimate (Shakespeare, William, and Stephen Orgel). Once Hermione gives birth, Leontes declines to have the infant girl. He sends it away. Leontes loses his only son and wife through death just before learning of the legitimacy of his daughter. As fate would have it, he later finds that the girl is married to Polixenes’ son and the two sides meet finally as the denouement is reached, (Shakespeare, William, and Stephen Orgel). Despite all the protests for innocence, Hermione cannot win the trust of the husband. Women cannot claim any articulation of sexual desire. From the transaction between King Leontes and Hermione, we can collect that the women significantly are subjugated. As such, they can only go by the desires of men. The sexual needs, therefore, take a male perspective.

Comic Relief and Romantic Love in A Midsummer Night’s Dream

A Midsummer Night’s Dream takes a comic dimension to explore the nature of romantic love. The various characters foolishly pursue their passion. In the play, a magic love portion applied to sleeping characters leads them to fall in love erroneously. Even the fairy Titania falls in love with Bottom (III.i.20). Despite being riled with jealousy, it reaches the climax when various partners have rightfully settled for their appropriate lovers. Shakespeare brings the concept of moonlight in the text to point at its suitability only for thieves (Shakespeare, William, and Peter Holland). Bottom wants to know whether the moon will be on as they dance. Lysander elucidates that it is by moonshine that the lovebirds plan to escape by running out of Athens, (Shakespeare, William, and Peter Holland). Such running compares to stealing.

Conclusion

In conclusion, Shakespeare presents sexual desire carefully, motivated by different levels of jealousy. In Othello, such intense desire ends with the death of Desdemona and some suitors rather than enjoyment. In The Winter’s Tale, the passions are partly disastrous though, in the end, King Leontes sighs relief after seeing his daughter that he had long cast for death. In A Midsummer Night’s Dream, Shakespeare delivers comic relief as desires presented are not disastrous.

Works cited

Shakespeare, William, and Michael Neill. Othello. Oxford, Oxford University Press, 2006.

Shakespeare, William, and Peter Holland. A Midsummer Night’s Dream. Oxford, Oxford University Press, 1998.

Shakespeare, William, and Stephen Orgel. The Winter’s Tale. Oxford, Oxford University Press, 2008.

.