Daisy Buchanan in The Great Gatsby is a character introduced as “passive, security-minded and pragmatic” who lacks the gall to leave her husband for Jay Gatsby. Although she does not own Gatsby, Daisy appears to possess ownership of him as it is argued in, Psychological Politics of the American Dream, that women are treated as commodities traded among men, however this fails to account for the fact that Daisy is equally as manipulative as Tom specifically towards Gatsby. Once the truth about Gatsby is revealed, Daisy beings “drawing further and further into herself” as the illusion of a new, wealthy life with Gatsby is shattered. Compare the representations of the subjugation of women in Othello, The Great Gatsby and Wuthering Heights. The subjugation of women is a key theme across my three chosen texts, Othello, The Great Gatsby and Wuthering Heights, that is presented both subtly and obviously through forms of physical, sexual and mental denegation. As a subtler example of subjugation, each woman is ultimately controlled and manipulated by a male figure, whether it be through Othello’s suppression of Desdemona upon believing she is unfaithful, Heathcliff’s domination over Isabella or Tom Buchanan’s economic control of Daisy via his financial stability within a class defined society. This confirms Evelyn Cunningham’s perception that, “Women are the only oppressed group in our society that lives in intimate association with their oppressors”, notably in the way that women’s roles are dictated and restricted by the domineering, patriarchal men in their lives, however there are still aspects of female rebellion in each of the texts. Othello’s subjugation towards Desdemona is largely portrayed as being linked to the effect of th... ... middle of paper ... ...d there is no simplistic way of seeing it. It has many different factors that affect it such as the roles that women play in society, class and the expectations of virginity and sex. Othello, Heathcliff and Tom Buchanan are the main male characters that exert their control over their female significant other as well as other female characters in the novel. The female characters at times do challenge this subjugation, Jordan Baker and Nelly being some examples of this, however they are not always successful in rebelling against this denegation as seen in Othello with both Desdemona and Emilia being tragically murdered. It is only seen in Wuthering Heights, with Young Catherine, who breaks outside the barriers of subjugation and marries the man she truly loves (Hareton), ultimately living the fairy tale ending that would be expected of a Victorian Novel at the time.
The two societies found in The Yellow Wallpaper and Othello are both patriarchal in nature; the stories themselves take up the issue of women’s oppression in each society. Patriarchy “is defined as the source of women’s oppression and gender inequalities in which men, as a group, dominate women as another group” (Johnson as cited in Ravari 155 ). Male superiority is demonstrated in the two texts in the way female characters serve and obey their husbands, and how the male characters patronize and cause detriment towards the female characters. Although there are similarities in the effects and consequences the women feel, the differences in culture, era and location of the two stories causes a discrepancy in the experiences of the women from
When we consider the patriarchal societies presented in Cat on a Hot Tin Roof by Tennessee Williams (1954), Frankenstein by Mary Shelley (1818) and Othello by William Shakespeare (1602), and attempt to draw conclusions between them, perhaps due to the two-hundred years passing amid the texts, the patriarchal society presented in Othello, one which values bravery and honour, as seen in act I scene II, by Othello ascribing Desdemona’s love of him as owing to the “battles, sieges, fortunes that I have pass’d”; contrasts with that shown in Frankenstein, whereby, as Dr Siv Jannsson comments, Shelley reveals the, “confrontation between a scientific pursuit as seen as masculine and a feminine nature which is perverted and destroyed by masculinity”2. Consequently, these differences allow us to establish how far the treatment imposed upon women in the texts, is due to the differing patriarchal societies presented by the writers, or whether the suffering of the women, is caused by the individual dispositions of the male and female characters. Yet, what makes this question so intriguing is that, despite the age gap between the texts, each writer presents universal truths about human nature, jealousy and ambition. In contrast to Othello and Frankenstein, whose main female protagonists are relatively ineffectual; Williams presents Maggie in Cat on a Hot Tin Roof, as a strong woman enduring the patriarchal society, yet simultaneously challenging it to save her husband, Brick, from his flaw of alcoholism.
Many readers feel the tendency to compare Aphra Behn's Oroonoko to William Shakespeare's Othello. Indeed they have many features in common, such as wives executed by husbands, conflicts between white and black characters, deceived heroes, the absolute vulnerability of women, etc. Both works stage male characters at both ends of their conflicts. In Othello, the tragic hero is Othello, and the villain is Iago. In Oroonoko, the hero is Oroonoko, the vice of the first part is the old king, and the second part white men in the colony. In contrast to their husbands, both heroines—Desdemona and Imoinda—seem more like "function characters" who are merely trapped in their husband's fates, occasionally becoming some motivation of their husbands (like Desdemona is Othello's motivation to rage, Imoinda's pregnancy drives Oroonoko restless to escape). While Shakespeare and Behn put much effort in moulding them, to many readers they are merely "perfect wives". This paper aims to argue that, Desdemona and Imoinda's perfect wifehood may be the product of compliance to male-dominated societies, where women are
Gender roles are undeniably a fundamental topic of critique in literature, particularly since expected gender roles have evolved in recent years. More importantly, the transcendence of these gender expectations indicates the possibility for transformation and increasing liberation in society. History explores many different stages for the sexes and their respective roles, from traditional anti-feminist times in which certain roles were strictly enforced, to more modern beliefs entailing free will and a lack of restrictions. In spite of this progress, there are always those who expedite the process while there are others that hinder development from occurring, even when it is necessary. Literary works in particular serve as a showcase for the progression of gender roles, but nonetheless reveal that through time certain elements remain consistent. Two authors who wrote in radically different time periods, William Shakespeare and Lorraine Hansberry, wrote plays that pose a threat to expected and traditional gender roles. The Taming of the Shrew (1623) is an example of an earlier work, which involves characters that manage to defeat their expected roles by acting out of the ordinary. A shrew, which is literally defined as either a small rodent-like animal or a woman with a harsh and nagging temperament (American Heritage Dictionary 1285), is used in reference to Katherine, the daughter of Baptista, who counters the expectation of women to act submissive by being loud and outspoken. In the end, even though Katherine seems to have submitted herself to society’s expectation of women, she is really only conforming in order to benefit her social role, since she realizes that accepting her role in society will be easier than counteri...
In The Great Gatsby, Fitzgerald presents three women in an especially bad light. Daisy Fay Buchanan, the narrator's cousin, is the most obvious. Daisy is selfish and materialistic. She married her husband, Tom, because he was wealthy when he proposed to her. She ignored her true love, Jay Gatsby, because he was poor; this fact is evident when the two meet again after years apart and Daisy sees that Gatsby is rich now. Gatsby bought the house right across the bay from Daisy so he could be near her (Fitzgerald 83). Daisy admires all of his possessions and even considers leaving her husband for him, but in the end remains with Tom. This action is evidence of Daisy's selfishness; the moment of their reunion means everything to Gatsby and nothing to Daisy, except for a game to help Daisy pass the time during her idle days (Magill 1144). The selfishness of Daisy is a detail that thrusts her into the role of a villain in the novel.
The Taming of the Shrew has a much different effect on contemporary readers than it may have had on 16th century readers, since the world has changed and society is vastly metamorphosed. When Shakespeare wrote The Taming of the Shrew, it was widely known that women should be subservient to their husbands. Today, however, in America this notion seems ludicrous. After the feminist movement, the fight for equality, women have gained much more liberty and respect than they once had. With the increased liberty, it is difficult to seriously consider how women were once treated as possessions. Because of the incongruity in views of the two eras, pieces like Underdown's "The Taming of the Scold" are crucial to a modern understanding of literature that deals with archaic social norms, chiefly since it puts the literature into the context of its creator's social mentality. Through Underdown's piece, I was able to achieve a much better understanding of the significance of Petruccio's "taming" of Kate in the examples which explain the common practices and occurrences of the age. Kate experienced a chariv...
During the Elizabethan era women had a status of subordination towards men. They had a role to marry and oblige to their husband’s wishes. Shakespearean literature, especially illustrates how a woman is psychologically and physically lesser to their male counterpart. The play, Othello, uses that aspect in many different ways. From a Feminist lens others are able to vividly examine how women were subjected to blatant inferiority. Being displayed as tools for men to abuse, women were characterized as possessions and submissive; only during the last portion of the play did the power of women take heed.
Daisy Buchanan, in reality, is unable to live up the illusory Daisy that Gatsby has invented in his fantasy. After Daisy and Tom Buchanan leave another one of Gatsby’s splendid parties, Fitzgerald gives the reader a glimpse into what Gatsby’s expectations are. Fitzgerald claims that “he wanted nothing less of Daisy than that she should go to Tom and say: ‘I never loved you.’” (109). Here it is revealed that Gatsby’s one main desire is for Daisy to go willingly...
Throughout history, women’s place and role in society has changed. Women are often seen as a lower status and have a need to be taken care of by men. There are conflicts with the idealization of women as they are often overlooked and viewed as secondary characters. This idealization is well established in the characters of Desdemona in Othello and Daisy in The Great Gatsby. In F.Scott Fitzgerald’s novel The Great Gatsby and Shakespeare‘s play Othello, Desdemona and Daisy are both responsible for their tragedies due to the manipulation and impact of the outsiders, their loss of innocence, and their vulnerability as women.
Male desire for dominance has existed from ancient times to present day. Great literature, such as Ovid’s Metamorphoses, has reflected man’s ongoing competition and need to hold power over both women and other men. This held true during the Elizabethan era as well. Shakespeare’s tragedy, Romeo and Juliet, continues this trend with his male characters but creates tension by making the female lead an active and defiant character without disregarding the realities of a male dominated world. Ovid writes tragedy after tragedy in Metamorphoses of masculine power and control over women; Shakespeare shows this, but allows one woman to demonstrate defiance, while not upsetting social order.
Continually confronted with his difference, and apparently associated inferiority, Othello eventually ingests and manifests this difference in a violent rage against the symbol and defining emblem of his otherness, Desdemona. Yet, who is to blame? Which character is redeemed through our sympathy so that another can be condemned? Othello, the dark-skinned murdering Moor, himself. The separation of his otherness from explicit and innate evil contrasted with Iago's free-flowing and early-established taste for revenge and punishment, alleviates Othello from responsibility. Surely, Othello has wronged and is to be held reprehensible--with his death--but even this is a self-infli...
Daisy Buchanan seems ethereal in The Great Gatsby. For Jay Gatsby, she is the reason he made his fortune. However, Daisy is not as pure or as innocent as Gatsby makes her out to be. About five years prior to the setting of the novel, Gatsby and Daisy fell in love with each other. Gatsby had then been sent off to war, but now he returns to win back his love, Daisy. Unfortunately for Gatsby this is an impossible task because while Gatsby was away, Daisy married Tom Buchanan, an arrogant aristocrat. Daisy successfully wields power in her society through marriage and attains higher social status. Daisy will never leave T...
Othello serves as an example to demonstrate the expectations of an Elizabethan society, the practice of privileges in patriarchal marriages and the suppression and restriction of femininity. According to Elizabethan beliefs, women were vassals for both marriage and breeding, seen as passive subordinates in comparison to the patriarchy of male domination. Patriarchal rule justified women’s subordination as the natural order, because women were thought to be psychologically and physiologically inferior to men In terms of Othello, representations of women clearly conform to the expectations of an Elizabethan society. For instance there are three female characters in Othello: Desdemona, Emilia and Bianca, with each of these characters behaving and conducting themselves in ways that are linked to the ideological expectations of men. This is demonstrated through the character of Desdemona who as Othello’s wife is the embodiment of passitivity and vulnerability. This is illustrated through her submissive nature, which represents her as passive throughout, regardless of whether she has done wrong or not. For example her use of language defines her passive nature, where she states ‘ I am obedient’, reflecting her subservience to masculine rule ( act 3 scene 3 p.g. 89). Alternatively it could be argued that the use of the pronoun ‘I’ is authorative suggesting that the sentence has a double meaning ; she is obedient yet an individual in her own right. It infers that although she does fit the stereotypical convention of a passive female, she will also stand up for herself when it matters. However a critique of this viewpoint is that throughout she continues to conform to masculine rule and is faithful, even when she is being victimized...
The way women were treated, as animals, forced to obey and listen to every command their husbands had to say, and how their weddings were treated like business transactions. Women were treated terribly in the Elizabethan times. In the play it shows how badly and terrible there were treated, many of them do. This also shows his the personalities of character changes at different times and environments, becoming more obeying or disobeying a master, but everything has gotten better since then, and one may agree that how women are treated now is immensely better than the way they were treated before.
William Shakespeare’s The Tempest provides dialogue that portrays the social expectations and stereotypes imposed upon women in Elizabethan times. Even though the play has only one primary female character, Miranda, the play also includes another women; Sycorax, although she does not play as large a roll. During many scenes, the play illustrates the characteristics that represent the ideal woman within Elizabethan society. These characteristics support the fact that men considered women as a mere object that they had the luxury of owning and were nowhere near equal to them. Feminists can interpret the play as a depiction of the sexist treatment of women and would disagree with many of the characteristics and expectations that make Miranda the ideal woman. From this perspective, The Tempest can be used to objectify the common expectations and treatment of women within the 16th and 17th Centuries and compare and contrast to those of today.