The majority of Charlotte Lennox’s 1752 novel The Female Quixote, or The Adventures of Arabella focuses on outward actions and appearances, particularly those of its eccentric heroine, Arabella, who conducts herself according to conventions of the romances she spent her life reading. A genre dating back to Ancient Greece and Rome, romance generally deals with the loves and adventures of the nobility, and within the world of The Female Quixote, this definition narrows to refer predominately to English translations of seventeenth-century French narratives, usually set in an idealized vision of the Classical World. Described by John J. Winkler as “an elaboration of the period between initial desire and final consummation,” allowing the potentially dangerous sexual passion (eros) to find containment within marriage (gamos) (28), the common plotlines for romance prefigures the conventions of eighteenth-century domestic fiction, following the tribulations of a pair of lovers until they are securely established within their society’s social hierarchy.
Central to romance’s narrative logic is the noble status of the central couple. Frequently their nobility is unrecognized by those surrounding them. Status is frequently treated as an innate quality that separates the lovers intellectually, morally and physically from the commoners around them. Each of their trials throughout the text rearticulates their superiority over their social inferiors as well as their fitness as companions to each other. The Female Quixote may focus less explicitly on the ‘right’ of one class to rule another, but as in many Georgian novels, focuses on those placed socially above the merchant classes. Lennox’s novel reinterprets the social divide of the romance in...
... middle of paper ...
...ol. 10. Geneva : Slatkin Reprints, 1972.
-------------------. The Story of Sapho (1649-1653). Trans. Karen Newman. The Other Voice in Early Modern Europe. Chicago: University of Chicago, 2003.
Simpson, Antony. “The ‘Blackmail Myth’ and the Prosecution of Rape and its attempt in 18th-Century London: The Creation of a Legal Tradition,” The Journal of Criminal Law and Criminology, Vol. 77, No. 1. (Spring, 1986): 101-150.
Weiss, Judith. “Insular Beginnings: Anglo-Norman Romance.” A Companion to Romance from Classical to Contemporary. Ed. Corinne Saunders. Malden, MA: Blackwell Publishing, 2004.26-44.
Watt, Ian P. The Rise of the Novel; Studies in Defoe, Richardson, and Fielding. Berkeley: University of California Press, 1957.
Winkler, John J., "The Invention of Romance," in The Search for the Ancient Novel. J. Tatum, (ed.)Baltimore (John Hopkins UP) 1994. pp. 23-38.
For the children of the projects, the pressure to join a gang never waivers. Quick cash and protection are hard forces to resist in a world of poverty and violence. However, the children's role in these gangs is inferior to that of the leaders. At first, the concept of joining is quite attractive. According to Lafeyette, one of the two brothers profiled in the book, " 'When you first join you think it's good. They'll buy you what you want' " (31). However, " 'You have to do anything they tell you to do. If they tell you to kill somebody, you have to do that' " (31).
* Gilbert, Sandra M. and Guber, Susan. The Woman Writer and the fifteenth-Century Literary Imagination. New Haven: Yale University Press,____.
Bloch, R. Howard. Medieval Misogyny and the Invention of Western Romantic Love. Chicago: U of Chicago P, 1991.
Kreis, Steven. "Lecture 16: The Romantic Era." The History Guide. Web. 18 Aug. 2010. .
“The Wife of Bath’s Tale” is written in an entertaining and adventurous spirit, but serves a higher purpose by illustrating the century’s view of courtly love. Hundreds, if not thousands, of other pieces of literature written in the same century prevail to commemorate the coupling of breathtaking princesses with lionhearted knights after going through unimaginable adventures, but only a slight few examine the viability of such courtly love and the related dilemmas that always succeed. “The Wife of Bath’s Tale” shows that women desire most their husband’s love, Overall, “The Wife of Bath’s Tale” shows that the meaning of true love does not stay consistent, whether between singular or separate communities and remains timeless as the depictions of love from this 14th century tale still hold true today.
Wolfson, Susan and Peter Manning (eds.). The Longman Anthology of British Literature: The Romantics and Their Contemporaries. Volume 2A. New York: Longman, 1999.
The book emphasizes the idea of how difficult it is to leave the gang lifestyle. There are frequent cases of relapse by individuals in the book, who were once out to again return to gangs. This case is brought by what gangs represent to this in the book and what leaving entails them to give up. The definition of gangs presented to the class was, three or more members, share name, color, or affiliation, or must exist in a geopolitical context. To members associated with gangs, this definition can include your family members, neighborhood, everyone that they associate with. Take for example Ronnie from Jumped in by Jorja Leap it states,” Ronny’s role models are gangbangers. His family is a hood. His mentors are older homies in county jail.”(102). Ronnie and other gang members like him do not
Romance can be defined as a medieval form of narrative which relates tales of chivalry and courtly love. Its heroes, usually knights, are idealized and the plot often contains miraculous or superatural elements. According to Tony Davenport the central medieval sense of romance is ' of narratives of chivalry, in which knights fight for honour and love.' The term amour coutois ( courtly love) was coined by the French critic Gaston Paris in 1883 to categorise what medieval French lyricists or troubadours referred to as ' fin armors'. Romances and lyrics began to develop in the late fourteenth century England, author like Chaucer or Hoccleve produced some of the first english medieval narratives. But how does medieval literature present the expericence of romantic love. In order to answer this question this essay will focus on two tales from Chaucer's Canterbury Tales: the Knight's Tales and the Franklin's Tales. It will show that medieval romance can be used as a vehicle to promote chivalric behaviour as well as exploring a range of philosophical, political, and literary question.
Beauty’s sisters marry rich men, who seemingly have acceptably desirable attributes as husbands. One man is detailed as a man of good looks. The other man is noted for having great wit. The two possess qualities most women seek in a husband, but it is indicated in descriptions that the two sisters are both unhappy in their marriages. Although the first husband is handsome, this serves him as a drawback, for he is a narcissist, only concerned with himself. The second husband’s wit is also a severe disadvantage due to the fact he uses his wit to torment other people, including his wife. It is when Beauty reviews her sisters’ marriages and the unhappiness her sisters experience in relation to their husbands that helps Beauty realize The Beast’s true worth and her love for him: “I should be happier with the monster than my sisters are with their husbands; it is neither wit, nor a fine person, in a husband, that makes a woman happy, but virtue, sweetness of temper and complaisance and Beast has all these valuable qualifications.” (9). The juxtaposition made between the husbands and The Beast create the disclosure of the appropriate masculine qualities a man should encompass. De Beaumont presents the contrast of characters to the reader as a method of emphasizing the
“The Knight’s Tale”, for example, uses the concept of a knight not only to parody the concept of the hero, but also to question the well-established courtly love convention. This last concept refers to a set of ideas about love that was enormously influential on the literature and culture of the medieval times for it gave men the chance to feel freely. Also, it gave women the opportunity to be an important element in the story – not only decorative. However, when scrutinizing the tale, the readers can realise that all the aspects of a knight’s love are exaggerated and conveyed throu...
In the 18th century, reading novels served as a pass time and a diversion from household chores for the women. Though formal female education is not developed, the female characters are seen having a keen interest in books, something that was earlier frowned upon for the sentimental content of books might be destructive to societal values. At the time, books were meant to teach and reflect upon the socially acceptable ideas of romance, courtship, and marriage. We find Miss Wharton asking for books to read from her friend Mrs. Lucy Sumner, “Send me some new books; not such, however, as will require much attention. Let them be plays or novels, or anything else that will amuse and extort a smile.” (Foster, 192) Mrs. Sumner sends her novels which she considers “chaste and of a lighter reading” (Foster, 196). We can thus construe that books and novels in The Coquette though meant for reading pleasure, also play form part of the female
When all the courtly love elements that flow through The Knight of the Cart are composed, in addition to a tale of love affair between Queen Guinevere and Lancelot of the Lake, a document revealing the enchanting history of the Twelfth Century Renaissance is created. Troyes, our powerful storyteller, was able to do this by taking us on a journey with Lancelot, not only though his exciting battles to Guinevere but, through his passionate and enamored thoughts and behaviors that yearns for his beloved.
Marie de France’s “Lanval” is a Breton lai dominated by themes common to 12th century literature, which through its exploration of love, erotic desire, wealth, gender and community, tells the story of a young knight who finds himself caught between two worlds: his lover’s and his own. Forced to separate these societies by a warning in which his lover states, “do not let any man know about this…you would lose me for good if this love were known” (Lines 145-148), Lanval must keep his love a secret and exist apart from the Arthurian world into which he was born. Consequently, romantic love between Lanval and his fairie queen exists conditionally, that is upon Lanval’s physical and emotional isolation. This restriction suggests that romantic love, as described in terms of erotic desire and physical/emotional devotion throughout “Lanval,” is unsuited for existence in the mundanity of Arthurian society. Therefore, Lanval’s solitude is necessary for his maintaining his relationship with the fairie queen, a fact that suggests the incompatibility of romantic love with Arthurian society, as Marie depicts it.
Huppé, Bernard F. "Rape and Woman's Sovereignty in the Wife of Bath's Tale." Modern Language Notes 63.6 (1948): 378-81. The Johns Hopkins University Press.
Radway, Janice. 1987. "Reading Reading the Romance." In Studies in Culture: An Introductory Reader, ed. Ann Gray and Jim McGuigan. London: Arnold, 1997, pp. 62-79.