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When viewed from a feminist lens, Act 2 Sc1 shows the subjugation and objectification of women living in a patriarchal society. Their lives are controlled by phallogocentric discourse and they are ultimately silenced by the patriarchy. Subjugation and objectification is portrayed throughout the scene, with Brutus having total power and authority over Portia. As Portia enters the scene, her first line “Brutus, my lord” portrays her as a submissive emphasising her low position in the hierarchy. The connotations of “lord” suggests that Brutus is of a higher power coupled with the personal pronoun “my” further accentuating her position in the relationship. Brutus is seen to miss treat Portia, “Y’have ungently, Brutus, Stole from my bed” with the verbs, “ungently” and “Stole” implying that Brutus is cruelly treating Portia. A sense subjugation is seen in Portia’s monologue, “Fearing to strength that impatience” with the use of juxtaposition suggesting the subject-object relationship. Portia appeals of Brutus through the stage direction “[She kneels]” displaying that she is physically inferior in addition the silent rhetorical concession on Portia’s part is a strategy to render her demand for equality, making herself less threating. Portia is seen to be marginalised in the metaphor “Dwell I but in the suburbs Of your good pleasure?” emphasising the power that Brutus has over Portia. Phallogocentric discourse is displayed as Portia identifies herself through men listing, “I am a woman, but

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