Regardless if found in reality, both the present or past, or found in comparable literary works, the constant battle and endless war between order and chaos, emotions and thoughts, follows humanity mercilessly. These opposing concepts also take form in ideas such the thesis and the antitheses- that with every idea or concept, sooner or later an opposing force or contradicting theory will rise and ultimately challenge and change the previous state of society, individual or even in the natural world. The war that rages between order and chaos easily applies to this philosophical notion. Both states, chaos and order, seem to and most likely will continue to inevitably occur and then counter act the other. Although a society or an individual may experience a time of order and an alignment of society which promotes and preforms standards on both an ethical and moral scale, eventually the tides will turn and chaos will crash, spurred on by whatever opposing viewpoint there may stand to the previous one. This belief could mean that the world ultimately functions in chaos, that unless people achieve permanent order, no order truly occurs. However, besides the possibility that perhaps having a balance between order and chaos would actually provide the “true order” desired, it seems that rather then focusing on the society's order or chaos, as so commonly done, it would remain best to look inwards, at the individual. In other words, for people to find the balance of order and chaos, reason and emotion, restraint and passion, they must focus solely on their being and inner workings and develop, in their individual way, a means of maintaining that balance. In Virgina Woolf's acclaimed novel, To the Lighthouse, the characters Lilly Briscoe a...
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... to her dreams, goals and ambitions, regardless the pressures stormed upon her. “Yes, she thought, laying down her brush in extreme fatigue, I have had my vision.” (p.209) her final line reflects her state of completeness, that she feels content and comfortable with her choices, especially when compared with those of more traditional women. This profound sense of clarity and self-reliance that Lily finds can only stand as a near perfect example of the way in which an individual can separate themselves from society, maintain their personal balance, and lead a content, all though perhaps rarely achieved, life. However, one must assume such an achievement would sit much higher on the wobbly shelf of reality then in the masterfully crafted literary work of Virginia Woolf.
The tableaux vivants scene in Edith Wharton’s House of Mirth is pivotal to the understanding of Lily Bart as a character. The passage not only highlights her precarious state in high-society, but it also contains one of the only instances where Lily feels truly comfortable and confident. Over the course of the description of Lily’s staging of her own tableaux, she goes from being a piece of art on display, to an artist carefully working to exhibit her own beauty. However, the contradictory reception from the audience to her intentions when her tableaux is presented, conveys her hubris in both her beauty and her ability to create visual representations of art. The scene concludes with, Gerty Farish, in response to seeing Lily’s tableaux, saying,
It is obvious that the similarities between Queen Elizabeth I and Virginia Woolf outweigh the differences. Both were learners and thinkers, advocates for they believed in and strong women despite all of the issues that had happened during their short lives. It is important to recognize the similarities between these women, for the traits of bravery, persistence, and wisdom are what make brilliant role models for people throughout time. By pointing out the similarities and differences between these two women, it is easy to see examples of what people in modern times should follow: advocacy for what one believes in and triumphs over life’s dilemmas.
My favorite thing about this passage is that even then there was still some type of woman empowerment, even if it was rare. That she didn’t encourage her or tell her to just stay in the house. Lily’s teacher says this to her when Lily hints that she wants to be a hairdresser. This is significant because it shows that Lily’s self-esteem is low from living with T. Ray (her father). After Mrs. Henry says this to Lily, Lily
In the beginning of the book Lily struggled to make friends and worried about her appearance. As the book went on she gained confidence and started to respect herself more. Lily says, “I worried so much about how I looked and whether I was doing things right, I felt half the time I was impersonating a girl instead of really being one” (Kidd 9). This shows how Lily's confidence is low and how
I have chosen to write about Virginia Woolf, a British novelist who wrote A Room of One’s Own, To the Lighthouse and Orlando, to name a few of her pieces of work. Virginia Woolf was my first introduction to feminist type books. I chose Woolf because she is a fantastic writer and one of my favorites as well. Her unique style of writing, which came to be known as stream-of-consciousness, was influenced by the symptoms she experienced through her bipolar disorder. Many people have heard the word "bipolar," but do not realize its full implications. People who know someone with this disorder might understand their irregular behavior as a character flaw, not realizing that people with bipolar mental illness do not have control over their moods. Virginia Woolf’s illness was not understood in her lifetime. She committed suicide in 1941.
The lives we lead and the type of character we possess are said to be individual decisions. Yet from early stages in our life, our character is shaped by the values, customs and mindsets of those who surround us. The characteristics of this environment affect the way we think and behave ultimately shaping us into a product of the environment we are raised in. Lily Bart, the protagonist in Edith Wharton’s The House of Mirth, is an exceedingly beautiful bachelorette who grows up accustomed to living a life of luxury amongst New York City’s upper-class in the 20th century. When her family goes bankrupt, Lily is left searching for security and stability, both of which, she is taught can be only be attained through a wealthy marriage. Although, Lily is ashamed of her society’s tendencies, she is afraid that the values taught in her upbringing shaped her into “an organism so helpless outside of its narrow range” (Wharton 423). For Lily, it comes down to a choice between two antagonistic forces: the life she desires with a happiness, freedom and love and the life she was cut out to live with wealth, prestige and power. Although, Lily’s upbringing conditioned her to desire wealth and prestige, Lily’s more significant desires happiness, freedom and love ultimately allow her to break free.
...ly must complete with the dominance of men. “In acknowledging her personal desires and dreams, Edna realizes that double standards exist for men and women” (Telgen and Hile 53). Ignorant of her “awakening” to come, Edna tests and defies every accepted value in women during the late 1800s including but not limited to obedience, fidelity, and compliance. Ultimately Edna succeeds in determining who she, reaching her full “awakening,” but discovers that the price for having her own identity in the restrictions of society is more than she can handle emotionally (53). Chopin provided insight for the future generations through the evidence of the effect of gender roles and the process of finding one’s self through their individual “awakening” in the midst of controversy and “as she swam she seemed to be reaching out for the unlimited in which to lose herself” (Chopin 49).
...She writes of the type of person that one can only hope exists in this world still. The message of her writing and philosophy is contained in a single phrase from the novel: “I swear by my life and my love of it that I will never live for the sake of another man, nor ask another man to live for mine,” (731). This is an inspiration, awakening an inner voice and drive that impels each person to do their absolute best. It implores the soul of the reader to awaken, to become the ideal of the human spirit, and to rise until it can rise no higher. It is a call to anyone with reason, anyone with the strength to be an Atlas, and it is reminding him or her of their duty to live up to the individual potential. For as long as there are those who would hear the message, there will still be hope for mankind.
...g out of traditional teachings of the domestic sphere and understanding the complex workings of the world. Vivie ceaselessly and independently follows her own vision of what is right, and while it may baffle and offend some, she cannot be persuaded to violate her own code. Vivie’s final separation from all that she knew before – her mother, Frank, even her old home – is perhaps the most telling signal of her independence. She has fully abandoned the domestic sphere and its obligations, and instead focuses on work. The debate over whether Vivie’s move is an appropriate one for women is still being held today over working mothers, but the move was even more radical then. One thing is certain, though – the challenges New Women like Vivie presented to Victorian society laid the foundation that generations of women have built on in pursuit of their unconventional dreams.
...en a woman conforms to a society’s standards she is not as beautiful as someone who is unrestricted of these limitations. Consequently, comparing her to a “goldenrod ready to bloom” (19) draws implications of flowers blooming in springtime, which are lovely. This allows the reader to see natural life growing from the woman and beginning to break free of the shell society creates. She shows resistance to the ideas of how women should act be look like. The poem ends with potential: the women can change how she is viewed in the world but she has to take the first step.
Fears are an overwhelming aspect of our life from birth until old age. Whether we fear an object such as something lying underneath the bed, a certain figure such as Michael Myers, or an intangible idea such as the future or even death, fear always exists. In several cases, fear leads to a suppression of one’s self and the wonderful ideas that one’s minds may contain. For example, the cure to cancer could very well be trapped inside the mind of someone who has been constantly oppressed and taught to believe that they are not smart enough to get far in life. In “Professions for Women,” author Virginia Woolf persuades her audience, intellectual women, to overcome her insecurities in order to improve her life. To soundly achieve this purpose, Woolf utilizes rhetorical questions, an extended metaphor, and allusion.
Edith Wharton's The House of Mirth is an affront to the false social values of fashionable New York society. The heroine is Lily Bart, a woman who is destroyed by the very society that produces her. Lily is well-born but poor. The story traces the decline of Lily as she moves through a series of living residences, from houses to hotel lodgings. Lily lives in a New York society where appearances are all. Women have a decorative function in such an environment, and even her name, Lily, suggests she is a flower of femininity, i.e. an object of decoration as well as of desirability to the male element. We see this is very true once Lily's bloom fades, as it were, a time when she is cast aside by her peers no longer being useful as something to admire on the surface. The theme of the novel in this aspect is that identity based on mere appearance is not enough to sustain the human soul physically or metaphysically. Once she is no longer able to keep the "eye" of her peers, Lily finds herself with no identity and dies. This analysis will discuss the theme of the objectification of women in a male dominated society inherent throughout the novel.
This, in fact, is an example of “dynamic decomposition” of which the speaker claims she understands nothing. The ironic contradiction of form and content underlines the contradiction between the women’s presentation of her outer self and that of her inner self. The poem concludes with the line “’Let us go home she is tired and wants to go to bed.’” which is a statement made by the man. Hence, it “appears to give the last word to the men” but, in reality, it mirrors the poem’s opening lines and emphasises the role the woman assumes on the outside as well as her inner awareness and criticism. This echoes Loy’s proclamation in her “Feminist Manifesto” in which she states that women should “[l]eave off looking to men to find out what [they] are not [but] seek within [themselves] to find out what [they] are”. Therefore, the poem presents a “new woman” confined in the traditional social order but resisting it as she is aware and critical of
To the Lighthouse is an autobiographical production of Virginia Woolf that captures a modern feminist visionary thrusted in a patriarchal Victorian society, as embodied by Lily Briscoe. Lily’s unique feminist vision and her ability to transcend artistic and patriarchal conventions progressively allows her to locate her quest for identity as an aestheticized epiphany journey. However, no matter how Woolf attempts to present Lily’s aestheticized exploration of her identity as a radical opposition to patriarchy alone, therein lies a specific aspect of feminism that Lily secretly wants to achieve. Therefore, I argue that although Lily is a symbolic rebel of patriarchal conventions who strives for women individuality, she brings her struggles a
She speaks highly of the faith and undying hope of these women and their families. She even comes to recognize them as saints as she describes their faith as "so intense, deep, unconscious, the they themselves were unaware of the richness they held" (Walker 694). In a passage in which she speaks about the treatment and social status of the women of the sixteenth century, Woolf explains that a woman who might have had a truly great gift in this time "would have surely gone crazy, shot herself, or ended up in some lonely cottage on the outside of town, half witch, half wizard, feared and mocked" (Woolf 749). Her use of some of these powerful nominative shows that she feels strongly about what she is writing. Also for her, life growing up and stories she may have heard may have influenced this passage greatly.