Motifs and Prophets, Women in History Plays

Motifs and Prophets, Women in History Plays Women play very limited roles in the realm of Shakespeare’s history plays. They are almost always used as plot devices to represent an idea, to foreshadow something, or simply for the sake of making the play a bit more light-hearted. However, as limited female roles in history plays are, they are more likely that not strong-willed characters. These female characters contribute wisdom and perspective that make the audience really think about the substance and themes behind these history plays.
The Countess of Salisbury first appears in Edward III as a hostage being rescued by the king himself. Despite being captured, she has the will to insult the Scottish invaders who besieged her castle. After rescuing the countess, the king becomes infatuated with her and demands that she become his mistress. She is quite the strong character as she is able to reject the king’s advances on her and stand up for herself. This is by no means an easy task, especially against the most powerful man in the country. Ultimately, the countess convinces the king to stop pursuing her affections and focus on the greater good, the war in France. The Countess of Salisbury is a strong female character who represents the idea of not abandoning one’s duty for worldly pleasures. She essentially advocates that not only should one not be distracted from one’s duty to their occupation or aspiration, but also not forego one’s duty to their spouse, saying “Your queen, and Salisbury my wedded husband, / Who, living, have that title in our love / That we cannot bestow but by their death” (II.ii.141-144). These scenes are played out in a slightly comedic way, talking about lending one’s body and soul separately, “If I should lend her house, my lord, to thee, / I kill my poor soul and my poor soul me” however the lesson she teaches the king, and by extension the audience, is still a valid one (II.i.241-242). Through the countess’ strong will and quick wit,