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Women in 19th literature
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Hands, Social Structures, and Female Fragility in The House of Mirth
Human hands are unfailingly present in everyday human life and art, either visual or literary. Despite the prominent presence of hands, hands are seldom noticed or appreciated in any walk of life; accordingly, literary analysis sweeps the mentions of hands under the rug. One writer, Sonoko Toyda, even connects hands to symbolize the very heart of a female and the head of a man (XI). Authors often write fictional woman to rely on their outward beauty; usually, beauty connects to a woman’s symmetrical face or slim body type, but hands too link to a woman’s beauty. Edith Wharton communicates both facial structure, female form beauty, and hand use to pleasing aesthetic
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Correspondingly, Carry Fisher’s, a dramatic women know for bringing people to the upper class, hands were admirable instruments of service for those around her (Wharton 44). Carry’s hand description separates her from many of the women surrounding her, for hers are less ladylike and more useful than other women. Still, Carry remains at the top of society with her divorces and powerful hands. Later, hands are used in reassuring gestures for those subjugated by the system of female oppression. Predominately, Selden grabs Lily’s hands away from her face as she desperately questions him for undermining her life decisions (68). Graveness outweighs any passion in the action, for he knows she is a slave to the society she despises. In the moment, Selden cannot help but to notice the beauty of her weeping face covered by her hands, which undermines his compassion for her societal entrapment. Gus Trenor’s, the businessman husband of Lily’s friend Judy Trenor, hand on Lily’s had the opposite effect of Selden’s; namely, Gus’s hand upset Lily, and it was a touch mirroring society’s limitations of attractive women, rather than a concerned gesture (81). Having lived among the upper crust of the Gilded Age, Wharton considered hand beauty as another element utilizable for The House of Mirth to highlight the unnecessary objectification of women, for outward beauty need not matter in the grand scheme of female worth as a
But unlike to look upon, those ladies were, for if the one was fresh, the other was faded: bedecked in bright red was the body of one; flesh hung in folds on the face of the other; on one a high headdress, hung all in pearls; her bright throat and bosom fair to behold, fresh as the first snow fallen upon hills; a wimple the other one wore rounded her throat; her swart chin well swaddled swathed all in white; her forehead enfolded in flounces of silk that fraimed a fair fillet, of fashion ornate, and nothing bare beneath save the black brows, the two eyes and the nose, the naked lips, and they unsightly to see, and sorrily bleared. A beldame, by God, she may well be deemed of pride! (Norton 178)
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
Bordo, Susan. "Beauty (Re)discovers the male body." Bordo, Susan. Ways of Reading: An Anthology for Writers. Ed. David Bartholomae and Anthony Petrosky. Ninth Edition. Bedford/St.Martin's, 2011. 189-233.
In her biographical and analytical book about Edith Warton and The House of Mirth, titled House of Mirth: A Novel of Admonition, Linda Wagner-Martin claims that, “Male physicians became specialists in women’s mental health, as well as obstetrics and gynecology. The message was clear: everything that touched a woman’s life was in the control of the patriarchy” (Wagner-Martin 3). In The House of Mirth, Lily Bart must marry a wealthy man, and ultimately it is up to the men to decide if they want to marry her or not. Lily attempts to procure her own wealth by asking her friend, Gus Trenor, to help her get into trading, only to discover that Gus uses his own money to invest, and asserts that Lily must repay him with her attentions and affection. Had Lily been a man, she would have been free to openly discuss trading, and had been able to conduct her own deals. Selden, who believes that he loves Lily, still views her as an object and a fool. Even after her death, he judges her character when he sees that she had addressed an envelope to Gus Trenor. He came to her apartment to tell her that he loved her, but just by seeing that she had addressed a letter to Trenor before she died, he casts away his feelings and continues sorting through Lily’s things, thinking that, “after all, that task would be easier to perform, now that his personal stake in it was annulled” (Wharton
E.D.E.N Southworth’s The Hidden Hand is a carefully constructed novel that touches on different 19th century issues and presents them in various forms. It was originally written as segments for a magazine, and its goal was to entertain readers. For that reason, Southworth made her story not only full of suspense and drama, but humor too. The humor, however, is not presented in the form of crude, sexual scenes, but instead, the humor is found in the almost mocking tone Southworth has towards the standards set by the 19th century society. She plays with the popular ideas of what society expects by morphing them into almost the opposite of what an ideal would normally be. One of the most twisted issues within the novel is gender and the creation of a female acting as a tomboy because the existence of the masculine female figure is the basis for many of the adventures and trials Southworth creates in her novel. Having this tomboy character creates many humorous situations because Cap participates in activities that a 19th century lady would never have even attempted to participate in. The mockery of the uptight expectations of gender in Southworth’s society gave way to the funny nature the novel presents.
The heroine, Mrs. P, has some carries some characteristics parallel to Louise Mallard in “Hour.” The women of her time are limited by cultural convention. Yet, Mrs. P, (like Louise) begins to experience a new freedom of imagination, a zest for life , in the immediate absence of her husband. She realizes, through interior monologues, that she has been held back, that her station in life cannot and will not afford her the kind of freedom to explore freely and openly the emotions that are as much a part of her as they are not a part of Leonce. Here is a primary irony.
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.
...little earthenware pipkin, you want to swim down the stream along with the great copper kettles...lookout and hold your own! How the women will bully you!" (613) Substantiating Lord Steyne's foreboding, with frigid indifference the ladies at his soirée slight Becky, thus proving that she can never fully advance into their milieu. In view of this, Becky, one step away from pushing open the doors to social dominance, fails. Charms and beauty only carry the unwealthy so far in the world of Vanity Fair, thus Becky remains locked out of the room to which she dedicated her life to gaining entrance. Outstripped by the pretentious peerage, Becky's quest for status reiterates the insuperable fact that one without fortune or noble ancestry "can't survive the glare of fashion long" (637).
In the Victorian era, in New York City, men and women roles within the society were as different as night and day. A man regardless of his extra curricular activities could still maintain a very prevalent place in society. A woman’s worth was not only based family name which distinguished her class and worth, but also her profession if that was applicable.
In a subtle way, Brush also makes the wife’s actions selfish. Even though her husband was wrong to react in the way that he did, she was also selfish in her actions. Clearly, her husband has a shy personality because “he was hotly embarrassed” (13) in front of “such few people as there were in the restaurant” (11). Using a couple of this age (“late thirties” (1)), Brush asserts that the wife should have known her husband’s preferences and been sensitive to them. The author also uses the seemingly opposite descriptions the couple: “There was nothing conspicuous about them” (5) and the “big hat” (4) of the woman. The big hat reveals the wife’s desire to be noticed.
In this part of the essay, I will show how O'Connor made use of symbolism through her characters to symbolise an abstraction of class-consciousness. The issues of class consciousness was brought up through the rounded character of the grandmother, who is the protagonist of the story. On the surface, we see the characteristics of the grandmother portrayed as a "good" woman, having faith in God and doing right in her live. However, the sin lies within her, whereby she thinks she is better than others around her. Viewing appearance and self-image as important, which is reflected through her gentility, the grandmother wears "white cotton gloves, straw sailor hat with a bunch of white violets on the brim, navy blue dress with a small white dot in the print and the collars and cuffs were white organdy trimmed with lace" (p.2117). Through her attire, the grandmother implies that people who looked at her will know that she is a respectable and noble lady. Repetitive use of the colour white is symbolic as it reflects the way the grandmother perceives and associates herself with - perfection, goodness, and purity. The grandmother also predicts that she would have done well if she had married Mr. Teagarden, "who had died a wealthy man few years ag...
Throughout the history, women were considered below men. Then it led to believe that only men can write but not women. However, women managed to enter literature world like men did. However, most people believed that only writing style that exists in literature is men’s style not feminine. Almost to the point, people believed that there is no feminine style of writing. Helene Cixous is a writer of The Laugh of The Medusa. This book is about women’s writing from Cixous’s view and explanation of feminine writing. Cixous believed women should write their own style in order to break and destroy male dominated society.
Margaret is an intelligent, articulate, and ambitious woman who desires to rise up in social status by marrying a man of higher social rank. She attends to those above her, in hopes of elevating her status as she becomes closer to the upper-class. As a minor character, she plays a small yet crucial role in advancing Don John’s plot to slander Hero and spoil her wedding. As a lower-class character, Margaret serves as a foil to the rich girls, particularly Hero, who embodies every attitude and mindset Margaret does not. But she also offers an alternative perspective on the upper-class characters in the play. Because Margaret is victimized because of her social ambitions, punished for wanting to rise above her ...
Evaluate and respond to the presentations of women in the Romantic period. Feel free to discuss presentations of women, by women (such as Austen’s Persuasion) as well as presentations of women by men (such as the “she” in Byron’s “She Walks in Beauty”). Consider the following questions: are these presentations problematic? What do they tell us about the values and briefs of the Romantic Period? Do any of these presentations subvert (complicate, or call into questions) the time’s notions of femininity?
The prejudice the women tolerate is evidenced by their tendency to dress in men’s clothing in order to be heard or considered (Olson). As women, their voices are inhibited or disregarded; they are overshadowed and overlooked by society. Portia, for example, has little choice but to consent to being the prize in her “loving” late father’s lottery. All decisions are made in regard to her future and life is influenced by men. The fact that the father is deceased does not diminish his power. In fact, his status a...