Austen is of course using irony, as she is comically referring to the usual heroine portrayed in such novels, beautiful damsels in distress who are waiting to be rescued by a handsome man. Catherine is not one of these heroines; she is simply an ordinary girl waiting for something to happen. Before she is able to discover her hero she must learn how to assess the character of others, and learn how to understand herself before she can claim the title of “heroine”. Throughout Northanger Abbey Catherine learns that real life is not as exciting, romantic, or black and white as the romance novels she reads. This is especially apparent in her friendship with Isabella Thorpe.
This tone begins with a satirical approach to her philosophy which is too overbearing (for some people) and her ignorance towards the subject of marriage. The switch in tone is so powerful that it can change what the reader once thought of Dorothea, a woman of dignity, into a naive child. In the first sentence, Eliot focuses on Dorothea's facade which " had a kind of beauty which seems to be thrown into relief by poor dress". Throughout the passage Dorothea's beauty is masked by something, whether it be by a material object or one of her personality traits. The first example is shown here through this quote which is interesting because of the way the dress is related to her appearance.
Although women were perceived to act and present themselves in a certain way, some young women went against the cult of the true woman hood not only to be different, but to escape he physical, emotional, and psychological abuse that they will or have encountered. The containment they felts they overcame or made better for themselves. In novels, The Bell Jar, by Sylvia Path and Lucy, by Jamaica Kincaid both young women portrayed their stories, lives, and culture in many different ways, but with some of the same themes. Works Cited Kincaid, Jamaica. Lucy.
In effect, Elizabeth represents both aspects of the novel's title, being both proud and prejudicial. It is not these factors, then, that endear her to readers, but rather the depth of her character in that she develops into a more even-minded person with a rare capacity for self-awareness. For though at one time she has the highest regard for Mr. Wickham and a low opinion of Mr. Darcy, later, though it is her "greatest misfortune" (Austen 61), Elizabeth amends her former thinking by "feeling that she had been blind, partial, prejudiced and absurd" (135). It is evident that she matures into a fully developed woman who can admit, "'Till this moment, I never knew myself'" (135, emphasis mine). Mr. Darcy is truly an enigma.
For example, “The advantages of natural folly in a beautiful girl have been already set forth by the capital pen of sister author, and her treatment of the subject I will only add” (Austen 81). She tries not to trick her reader as he/she reads the novel. Instead she informs the reader that the book itself is just a novel. Her purpose is not to convince the reader and correct her story, but to understand the imperfection of language because language does not always tell the truth or enough for the truth. In Jane Austen’s Northanger Abbey, Austen portrays her heroine, Catherine as an innocent young girl who fails to understand the language.
Catherine appears to be in her mid to late teenage years, which is represented through the pure light placed on her forehead. This lightness surrounding her face is able to represent the innocence of her mind as well as the curiosity she as she searches for who she is. Even though, she can be perceived as innocent the blues are... ... middle of paper ... ...modern girl based on the fact that she is holding a novel. Historically speaking, women didn’t begin reading novels openly until more modern times. Based on the distance between Catherine and the Abbey it seems as if there will be some sort of journey to clear the fog in her mind and possibly even discover who she is during this journey.
In the Short story “Where Are You Going Where Have You Been” written by Joyce Carol Oates we are introduced with the protagonist of the story Connie a fiffteen year old girl. Connies character is a teenage girl who views herself as an adult who pays little attention to authority given by her parents. Connie continuously disobeys her parents and thanks to her “goodie-goodie” older sister is allowed to go out late at night. The story begins with Connie 's mother scolding at her for admiring herself in the mirror. Here we are given the sense that she is very self centered and cares alot about her appearance.
Language plays an important role as a normal woman assesses her husband s profession and her own supposed illness. The narrator comes across intelligent if not a little paranoid-less concerned with a slighthysterical tendency but rather a queer untenanted (Gilman 691) house. Her suspicion occurs early on; appearing at first as misdirection meant to foreshadow a possible ghost story. She goes on to describe the most beautiful place with a delicious garden (Gilman 692). Her depiction is that of a quaint home-leading thereader to imagine a stable woman in a new setting.
Throughout the book, whenever someone was in need, the characters would try their hardest to help and fix the situation. The youth of 1860 are definitely going to choose that over the depressing situations in A Little Princess. The girls, at the boarding school, are never home and their families rarely bother to come see them. Finally, children dislike uncommon and obscure objects. In A Little Princess the main character, Sara, was a beggar and a maid who had almost nothing.
Some of these qualities remain in the characters of Mrs. Dalloway but the two generally appear much more reasonable and likeable. Clarissa was modeled after a friend of Woolf's named Kitty Maxse, whom Woolf thought to be a superficial socialite. Though she wanted to comment upon the displeasing social system, Woolf found it difficult at times to respond to a character like Clarissa. She discovered a greater amount of depth to the character of Clarissa Dalloway in a series of short stories, the first of which was titled, "Mrs. Dalloway in Bond Street," published in 1923. The story would serve as an experimental first chapter to Mrs. Dalloway.