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The role of women throughout English literature
The role of women throughout English literature
How has the representation of women in literature evolved since 1900
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Through struggle, one can come out on the other side of adversity feeling stronger knowing that they have survived hardships. In Daphne du Maurier’s novel Rebecca, this concept is examined through an insecure, anonymous young woman who marries above her class to the enigmatic Maxim de Winter. Her marriage leads her to move into the grand Manderley estate, where she encounters constant reminders of her husband’s deceased first wife that force her to see herself as inferior. The narrator’s most obvious distinction is her low self-esteem, highlighted by a barrage of self-loathing thoughts and a consistent belief in her inadequacy. However, when the awkward, unconfident narrator is forced to overcome the obstacles that arrive with life at …show more content…
For instance, after the narrator arrives at Manderley and is greeted by an intimidating crowd of servants, she drops her gloves in shock; when Mrs. Danvers picks them up for her, the narrator admits, “I guessed at once she considered me ill-bred. Something, in the expression of her face, gave me a feeling of unrest” (du Maurier 68). The narrator’s knee-jerk reaction to Mrs. Danvers’ presence is that the servant thinks her crude; this diverges from the typical dynamic between master or mistress and servant. As well, the only mistake she has made in Mrs. Danvers’s presence was dropping her gloves, which would not be as noteworthy if she were more self-assured. Additionally, after working up the courage to explore Rebecca’s old bedroom, the narrator relays, “I realized for the first time since I had come into [Rebecca’s] room that my legs were trembling, weak as straw….How white and thin my face looked in the glass, my hair hanging lank and straight. Did I always look like this?” (du Maurier 168-169). The quivering of the narrator’s legs indicates her fear of Rebecca; it highlights that Rebecca, though dead, is stronger than she is. The manner in which she surveys her appearance contrasts the striking way she envisions Rebecca, who she imagines has a face that is “small and oval, [with] clear white skin [and a] cloud of dark hair” (du Maurier 237). While the narrator’s hair is described as “lank” and plain, the use of the word “cloud” in the description of Rebecca’s appearance emulates an almost fantasy like image. The narrator believes herself less than her predecessor; not just in intelligence, but in appearance, vitality, and physical strength. Her habit of comparing herself to others shines through in this moment, underlining her interpretation of her adequacy. To further
‘Rebecca’ and ‘The Bloody Chamber’ convey the gothic theme of isolation by employing the embodiment of dominant male characters. The femme fatal persona in ‘Rebecca’ creates a stigma about how Mrs de Winter should act. The Fairy-tale form causes development of female power and causes a sense of resilience throughout the collection of short stories. The use of controversial issues of feminine empowerment exercises the idea that women should have more power within heterosexual relationships. There are several Gothic conventions within both texts, for example setting is vital because the authors use immense, reclusive places like Manderly and the Castles causing physical entrapment for the feminine roles. Violent characteristics from Maxim and
“Winter lies too long in country towns; hangs on until it is stale and shabby, old and sullen” (“Brainy Quotes” 1). In Edith Wharton’s framed novel, Ethan Frome, the main protagonist encounters “lost opportunity, failed romance, and disappointed dreams” with a regretful ending (Lilburn 1). Ethan Frome lives in the isolated fictional town of Starkfield, Massachusetts with his irritable spouse, Zenobia Frome. Ever since marriage, Zenobia, also referred to as Zeena, revolves around her illness. Furthermore, she is prone to silence, rage, and querulously shouting.
Moreover, the mother faces the turning point of the whole journey when she courageously confronts her husband and finally voices out her opinion against being treated as more of a thing rather than a person. She reminds him that “[her] name… is Elizabeth” and should not be referred to as a mere “woman”, but being outrageous as he was, he yells at her to “shut [her] mouth” as she was trying to explain, and “[get his] supper”. Through the mother’s confrontation with her husband, the readers learn the importance of having the courage of speaking out what we believe is right despite of the outcome, instead of merely submitting in silence. Ultimately, numerous positive changes occurred once resolution to both the mother's external and internal conflict are addressed. Not only does “[the husband] often speaks to [the] mother as though she were more of a person and less of a thing”, but the mother also decides to “[teach] her two grandsons how to wash dishes and make
By describing Miranda’s reaction to the old women’s’ questioning, Porter conveys the sense of embarrassment Miranda felt. She describes Miranda’s reaction by using a simile: “with her powerful social sense, which was like a fine set of antennae radiating from every pore of her skin . . . “ Miranda is ashamed because she knew it was rude and ill-bred to shock anyone although she had faith in her father’s judgment and was perfectly comfortable in the clothes.
Daphne Du Maurier's Rebecca Rebecca has been described as the first major gothic romance of the 20th century; Mrs. Danvers’ character is one of the few Gothic interests within the novel. Her unnatural appearance and multi-faceted relationship with Rebecca provides scope for manifold interpretations and critical views. Furthermore, Mrs. Danvers connection with Rebecca and Manderlay is a sub-plot in itself, making Mrs. Danvers the most subtly exciting character in the novel.
A Room of One’s Own and Elizabeth Barrett Browning’s “Aurora Leigh (Book I)”, the women’s voices are muted. Female characters are confined to the domestic spheres of their homes, and they are excluded from the elite literary world. They are expected to function as foils to the male figures in their lives. These women are “trained” to remain silent and passive, not only by the males around them, but also by their parents, their relatives, and their peers.
There, up high on her throne, manipulating them as game pieces on a chessboard, their fate will be decided by her; their lives are used to advantage her purposes. Before the victim is trapped, they are charmed by the seemingly heartless fiend. Then, at that point without knowing, deluded into being her follower. In the novel Rebecca, the late Mrs. de Winter, or Rebecca, had shown some qualities that could classify her as a sociopath. Throughout the novel, there are small clues that whisper the truth; they are revealed to have been hints for Rebecca’s true nature. Rebecca shows essential characteristics that expose her sociopathic disposition, such as, being manipulative and lacking the ability to feel remorse.
Louise, the unfortunate spouse of Brently Mallard dies of a supposed “heart disease.” Upon the doctor’s diagnosis, it is the death of a “joy that kills.” This is a paradox of happiness resulting into a dreadful ending. Nevertheless, in reality it is actually the other way around. Of which, is the irony of Louise dying due to her suffering from a massive amount of depression knowing her husband is not dead, but alive. This is the prime example to show how women are unfairly treated. If it is logical enough for a wife to be this jovial about her husband’s mournful state of life then she must be in a marriage of never-ending nightmares. This shows how terribly the wife is being exploited due her gender in the relationship. As a result of a female being treated or perceived in such a manner, she will often times lose herself like the “girl
The gothic romance and mystery of Daphne du Maurier’s Rebecca show the style in which a deep, dark secret is held at the beautiful Manderley, and a young love is influenced by the haunting of Manderley’s former mistress. Using the harrowing style of suspense, Daphne tells a tale of a young woman trying to live a life in the home of someone who has not quite left yet. With extraordinary scenery, strong symbolism, and plenty of hidden irony, Daphne du Maurier has made an everlasting psychological thriller.
“Men weren't really the enemy - they were fellow victims suffering from an outmoded masculine mystique that made them feel unnecessarily inadequate when there were no bears to kill.” (quotegarden) As changes in industry and lifestyle swept the nation in the mid-nineteenth century, questions regarding women’s place in society started to arise. This prompted many women to reevaluate their positions in their own lives. At the time, women were dominantly domestic figures, residing in the house to matronly care for children and tend to household duties not to be bothered with by the husband. It is important to note that men in this century were raised and cultivated to have a certain view of women, so they are not actually malicious as some might view them, they are simply products of their environment. It just so happened that women drew the metaphorical “short stick”. Socially and politically, women were not independent. The only voice they had was through their husbands, and relationships and ideas shared with other women at this time were thought to be nothing more than domestic chatter, not to be taken seriously. The only exception to this widely accepted rule was, of course, a widow. She was not tied to a husband or father, or any male for that matter, so she had more freedom over not only her estate but her personal life as well. This is the situation Louise Mallard finds herself in in Kate Chopin’s short story, The Story of an Hour. Chopin illustrates the woman’s newfound feelings of pure freedom that come with the death of her husband and helps readers to understand the oppression felt by women during this time period using Mrs. Mallard’s view on her marriage and her intense emotions, along with the inner conflict she feels. ...
“It was a large, beautiful room, rich and picturesque in the soft, dim light which the maid had turned low. She went and stood at an open window and looked out upon the deep tangle of the garden below. All the mystery and witchery of the night seemed to have gathered there amid the perfumes and the dusky and tortuous outlines of flowers and foliage. She was seeking herself and finding herself in just such sweet half-darkness which met her moods. But the voices were not soothing that came to her from the darkness and the sky above and the stars. They jeered and sounded mourning notes without promise, devoid even of hope. She turned back into the room and began to walk to and fro, down its whole length, without stopping, without resting. She carried in her hands a thin handkerchief, which she tore into ribbons, rolled into a ball, and flung from her. Once she stopped, and taking off her wedding ring, flung it upon the carpet. When she saw it lying there she stamped her heel upon it, striving to crush it. But her small boot heel did not make an indenture, not a mark upon the glittering circlet.
Guy de Maupassant’s Mathilde Loisel and Eugenia Collier’s Lizabeth are two characters enduring what they perceive to be an abject state of existence. In Maupassant’s narrative, “The Necklace,” Loisel longs for material things she cannot have. In a similar way, Lizabeth, the protagonist of Eugenia Collier’s “Marigolds,” perceives her own life in the shantytowns of Maryland as dreary and dull. Despite their different character traits and backgrounds, Collier’s and Maupassant’s characters have similarly negative perspectives towards their own lives that greatly influence their actions and consequently, the outcome of the story.
A man already in decay, having given my best years to feed the hungry dream of knowledge,—what had I to do with youth and beauty like thine own! Misshapen from my birth-hour, how could I delude myself with the idea that intellectual gifts might veil physical deformity in a young girl’s fantasy! … Nay, from the moment when we came down the old church-steps together, a married pair, I might have beheld the bale-...
... their positions and their stand in society. Material privileges and money distinguish the upper class people from the harder working lower class, and with this we can see how morals play an important role in their life. Arrogance and vanity control the lives of those with all the money, and modesty and inner happiness is what lower class people strive for. In Rebecca, Daphne Du Maurier is able to glorify a phenomenon that takes the main character life from the bottom of the sea to a cruise ship sailing the seven seas. The narrator goes through the different social classes but keeps her own mind and morals; she is not over taken by all the riches and material privileges that come with such a life, but on the contrary, she remains true to her self and makes sure that the only thing that matters is the she and Maxim De Winter share and carry on with their lives.
Mrs. Mallard’s repressed married life is a secret that she keeps to herself. She is not open and honest with her sister Josephine who has shown nothing but concern. This is clearly evident in the great care that her sister and husband’s friend Richard show to break the news of her husband’s tragic death as gently as they can. They think that she is so much in love with him that hearing the news of his death would aggravate her poor heart condition and lead to death. Little do they know that she did not love him dearly at all and in fact took the news in a very positive way, opening her arms to welcome a new life without her husband. This can be seen in the fact that when she storms into her room and her focus shifts drastically from that of her husband’s death to nature that is symbolic of new life and possibilities awaiting her. Her senses came to life; they come alive to the beauty in the nature. Her eyes could reach the vastness of the sky; she could smell the delicious breath of rain in the air; and ears became attentive to a song f...