Herman melville wrote the Paradise of bachelors and Tartarus of Maids to commentate on the structure of society during the industrial revolution in the mid 19nth century. This metaphor could, however, also carry over to modern society. The paradise of Bachelors is a tale of a male utopia. It is about a secluded society where one night these wealthy, well educated residents enjoy a meal that demonstrates how oblivious they are to any worry that could be outside of this Paradise. In the beginning of the story Herman melville compares these men to the Templars of old england. He then immediately retracts this statement and says “Templar? That’s a romantic name. (...) Do we understand you to insinuate that those famous Templars still survive in modern london?” He is implying that the lavish lifestyle that these …show more content…
In a conversation about where the buttons of the shirts have gone, the narrator and Cupid (a character of the story who is giving the tour) confuse the literal bachelor's buttons for the flower and in this cupid says “The devil's dungeon is no place for flowers.” This is in direct contrast to the reference earlier in the Paradise of Bachelors to the garden of eden. In the real world context though this is Melville commenting on the fact that wealthy people throw scraps down to the working class. Melvill also references the harsh working conditions of the factory saying “So, through consumptive pallors of this blank, raggy life, go these white girls to death.” The real working class mill girls perhaps were not all suffering from tuberculosis and dying but it is used to to further contrast the heaven-like Paradise of Bachelors with the Hell/Tartarus that is the factory where the mill girls work. Also, the bachelors were well fed and presumably healthy which is the exact opposite of the sickness and malnourishment seen in the Tartarus of
What would one expect to be the sentiment of a young women who worked in the Lowell textile mills? It is just such a depressing story; and the sad heroines are the young women of Lowell - Lucy Larcom- who Stephen Yafa portrays in his excerpt “Camelot on the Merrimack.” A perception through the eyes of a thirteen-year-old Lucy Larcom reveals that, “For her and the other young girls, the long and tedious hours they spent tending to demanding machines robbed them of their childhood.” The imagery in “Camelot on the Merrimack,” from Big Cotton by Stephen H. Yafa disclose the working conditions in those sordid mills.
A multitude of mills going up created back water which hindered the mill’s wheels from turning more freely, but with more competitors came more jobs to the area. In addition to more work came the need for more workers. Francis Lowell of Massachusetts decided to make a wholesome atmosphere to attract young country women to his mill to work. He offered wholesome living with room and board, decent pay, strict rules, and curfews to enforce the safety of the girls that worked for him. These workers came to be known as the “Lowell girls”.
How the Factory Girls Do Rig Up!” (2010), she describes how the women of that time period defined themselves, “by what she read ... at least as much as by how she dressed, what she ate, or how she furnished her house." She goes on to talk about how the mill girls were no exception, spending their hard earned wages on clothing and adornments. Cook discusses how clothing was “the frontier between the self and the not-self”, and a classic way of middle class expression. They are similarly situated at the boundary between the solitary individual and the encompassing world and the mind and its material embodiment. Thomas Carlyle had written metaphorically in 1834 that clothes were "unspeakably significant", and the mill girls were no
They were forced to go out to work and make a rapid transition into adulthood. In these work places they, like any other adult, had a limited amount of time to eat. Patience Kershaw, a miner at the age of 17 recalls having cake for dinner- in inadequate dinner- and she does “not stop or rest at any time for the purpose” referring to her inability to eat throughout the day . She of course is not the only one, Elizabeth Bentley who works in the mills was asked whether she had the opportunity to eat in the factory. The 23 year old who began working at the age of 6 replied with a “no” saying how she had little to eat. The human rights were furthermore diminished as I read further on about the consequences there were if a child were to arrive late to work or became drowsy. Clearly the long hours and often times the long travel from home to work would severely tire anyone, to keep the kids under control and alert while working, the over lookers resorted to strapping them “when they became drowsy”. Matthew Crabtree explains the dread that these kids had of getting beaten, due to the fear they had we can infer that the means of physical abuse was prevalent in these factories. In the mines the young girls and women had to adapt to the conditions of their workplace. The vigorous lifting and loading was a strenuous activity done by both sexes, males worked naked to combat heat while females also worked
During the mid-nineteenth century, as the industrial revolution was taking shape, so too, was an economic system in Lowell, Massachusetts. The system involved a series of textile mills, which hired mostly women from rural towns, which were slowly giving way to the large cities as a result of industrialization. The textile mills hired the women to work long hours in brutal, often dangerous conditions, and many paid high rent to company boardinghouses. This may sound like feudalism, but it was, in fact, an example of oligarchical capitalism. However, it shares features with the conditions in "Norma Rae" and "Matewan".
The owners of the factories in New England, like in Lowell, Massachusetts, oppressed young girls by being careless with their safety. It was already terrible that women made one-eighth of what men made; their affordability for employers made girls, especially immigrants, desirable to save money. That could be the cause of the employer’s lack of regard for their safety. In the factories, from sunrise to sunset, women, men, and children had to breathe in unhealthy and unventilated air. In addition, men and women were being injured and killed because of hazardous surroundings, as Mary S. Paul writes to her father, “My life and health are spared while others are cut off.” Workers have been breaking their necks and ribs and being killed by cars (Doc F). It is an employer’s responsibility to keep his/her employees safe because, in reality, it would be in their interest to keep their workers alive to make them money. Still the girl’s well-being and interests were ignored because it would trouble the factory owners. As a result of the owner’s profiteering, employees were dying.
This ESSAY discusses the female Lowell factory worker as portrayed in the Offering. Although the magazine never expressed an overtly feminist view of the factory girls' condition, nor invoked a working-class consciousness similar to later labor expressions in Lowell, there is evidence of a narrative strategy and ideology speaking both to the factory women and the middle-class readership outside of the mill town. The paper's short stories, epistolary narratives and commentaries seek to legitimize an operatives' role within the feminine ideal of domesticity. In conforming to the norms of feminine literature, the Offering reconstructs the operatives' character. It subordinates the evidence for independence or autonomy to relate stories of familial or sentimental ties binding the factory girl to the world outside of factory life. The magazine sought to provide an answer to this question: given her new liberties, what kept the "factory girl" from losing contact with her moral sentiments?
In the early years while the profits were high working conditions looked promising to the mill girls in their brief opening experiences of factory work. Jobs required little skill because the machinery was mostly self-acting. It looked very pleasant at first, the rooms were so light, spacious, and clean, the girls so pretty and neatly dressed, and the machinery so brightly polished or nicely painted (Harriet Farley, Letters from Susan, Letter Second).
The seat of faith resides in the will of the individual and not in the leaning to our own reasoning, for reasoning is the freedom of choosing what one accepts as one’s will. In considering the will was created and one cannot accuse the potter or the clay, Milton writes to this reasoning, as “thir own revolt,” whereas the clay of humankind is sufficient and justly pliable for use as a vessel of obedience or disobedience (3.117). The difficulty of this acceptance of obedience or disobedience is inherent in the natural unwillingness in acknowledging that we are at the disposal of another being, even God. One theme of Paradise Lost is humankind’s disobedience to a Creator, a Creator that claims control over its creation. When a single living thing which God has made escapes beyond the Creator’s control this is in essence an eradicating of the Creator God. A Creator who would create a creature who the Creator would or could not control its creation is not a sovereign God. For who would not hold someone responsible for manufacturing something that could not be controlled and consider it immoral to do so? To think that God created a universe that he has somehow abdicated to its own devices is to accredit immorality to the Creator. Since the nucleus of Milton’s epic poem is to “justifie the wayes of God” to his creation, these ‘arguments’ are set in theological Miltonesque terms in his words (1. 26). Milton’s terms and words in Paradise Lost relate the view of God to man and Milton’s view to the reader. Views viewed in theological terms that have blazed many wandering paths through the centuries to knot up imperfect men to explain perfect God.
Many of us complain about the tough hours we work or the amount of chores we have to complete, but think about the truly harsh conditions that young girls and women had to work in the textile industry with very little pay and no accolades. Back in the 18th century, when the Industrial Revolution struck, it made it hard for female mill workers to enjoy being employed. Due to the terrible working conditions, the amount of hours worked, and the low wages were a few of the similarities that the female mill workers in England and Japan shared.
Young girls were not allowed to open the windows and had to breathe in the dust, deal with the nerve-racking noises of the machines all day, and were expected to continue work even if they 're suffering from a violent headache or toothache (Doc 2). The author of this report is in favor of employing young women since he claimed they seemed happy and they loved their machines so they polished them and tied ribbons on them, but he didn 't consider that they were implemented to make their awful situations more bearable. A woman who worked in both factory and field also stated she preferred working in the field rather than the factory because it was hard work but it never hurt her health (Doc 1), showing how dangerous it was to work in a factory with poor living conditions. Poor living conditions were common for nearly all workers, and similar to what the journalist saw, may have been overlooked due to everyone seeming
...seful miscommunication between men and women. Lastly, when looking through the imagined perspective of the thoughtless male tricksters, the reader is shown the heartlessness of men. After this reader’s final consideration, the main theme in each of the presented poems is that both authors saw women as victims of a male dominated society.
In Milton's Paradise Lost, the two images of sex in Books IV and IX sharply contrast one another in order to show the dichotomy of love and lust. The first act of sex is seen in Book IV and represents holy love. Before going into their bower, Adam and Eve make sure to praise God. This awe for their maker is seen when Adam and Eve "both stood,/Both turned, and under open sky adored/The God that made both sky, air, earth and Heav'n" (IV. 720-2). Even the heavens are in unison with Adam and Eve's love. While Eve decorates their "nuptial bed," there are "heaven'ly choirs" singing the "hymnenean sung" (IV. 709, -10). This love of Adam and Eve's is not "loveless, joyless, unendeared" but instead is "loyal, just, and pure" (IV. 766, 755). After their sacred act of sex, Adam and Eve are enraptured with joy and peace. They are "lulled by nightingales" and fall asleep naked, embracing one another (IV. 771). All is perfect in Paradise, but not for long.
...t, Stephen, gen. ed. “Paradise Lost.” The Norton Anthology of English Literature. 9th ed. Vol. 1. New York: Norton, 2012. Print. 36-39.
“Paradise Lost.”* The Norton Anthology of English Literature. Ed. Stephen Greenblatt and M.H. Abrams. New York: W.W. Norton, 2006. *(page). Print.