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Portrayal of women in literature
Studying gender roles in literature and life
Portrayal of women in literature
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Compare the way Duffy and Pugh explore relationships between men and women.
In their work, Duffy uses her poetry to give a voice to what she believes are the under-appreciated sex as she slanders men for their anti-feminist ways whereas Pugh crafts her poems with a sense of equality between both genders, somewhat stating that men and woman can be hard done by by the society they are a part of. In the Haggard and the Falconer Pugh presents a falconer, a symbol for men, who is depicted to be attempting to tame a Haggard. In the works of Shakespeare Haggards were presented as women who were unable to be tamed and attained by a man, Pugh uses this endless inability to tame to show how male and female relationships work- the man asserts his position
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Aesop’ depicts a marriage in which the female feels trapped, this is evident in the opening line, ‘By Christ, he could bore for purgatory.’ The use of words selected by Duffy highlights the entrapment felt by the persona, furthermore suggesting the male was dominant in the relationship and the use of modern idioms suggest how long this has been going on as Mr. Aesop told fables many centuries ago. Through the use of internal rhyme, ‘didn’t prepossess…to impress’, we get the sense that there is a lot of resentment within the marriage as some may interpret this line to be a shaming in regards to his sexual ability- this is previously hinted at previously as it is stated ‘He was small’, a reference to his love making skills and his need to over-compensate for not being well endowed. The poem continues with the persona of Mrs. Aesop contorting Mr. Aesop’s famous fables and using them as a weapon of battle, ‘the bird in his hand shat on his sleeve’ moreover highlights her absolute bitterness towards …show more content…
These depict a sense of not only entrapment but also just how tainted the marriage has become, going out with your other half is supposed to be joyous but for her ‘going out was worse’ and this shows how the entrapment and dismay with the marriage is continuous. Pugh portrays a failing marriage in a similar way as even the most enjoyable parts of marriage, sex, the persona’s wife attempts to escape by ‘lay[ing] unmoved, watching him// under her eyelids.’ The persona’s wife, the Haggard, has resorted to deceiving her husband so that she may, ‘when he has gone…ecstasies’. This constant deception on her behalf signifies the breakdown of their marriage, the sexual imagery articulating how selfish the ‘Haggard’ has become as she only wants to keep the pleasure to
In order to somewhat comprehend Fuller’s riveting real-life stories, we must step back and remember that her time period is much different than ours (early 1800s). Back then, the people with right minds wouldn’t dare to go against norms or traditions of an in-line kept society, for the fear of being shunned and shamed. Nonetheless, this story really spoke to me, in terms of Ms. Fuller having a head start on all of her life experiences. She had no other siblings in the household to interact with her like normal children, she had no other playmates. The theories I decided to use in order to bring her work under different light, are “Queer theory” and “Psychological theory”. I believe that Ms. Fuller was really deep in her writing, especially in reflective pieces where she talks about her dear soul mate. She went through so much for the 40 years she lived, and most of it, in her childhood.
Nature, that washed her hands in milk” can be divided structurally into two halves; the first three stanzas constitute the first half, and the last three stanzas make up the second half. Each stanza in the first half corresponds to a stanza in the second half. The first stanza describes the temperament of Nature, who is, above all, creative. This first stanza of the first half corresponds to stanza four, the first stanza in the second half of the poem. Stanza four divulges the nature of Time, who, unlike Nature, is ultimately a destroyer. Time is introduced as the enemy of Nature, and Ralegh points out that not only does Nature “despise” Time, she has good reason for it (l. 19). Time humiliates her: he “rudely gives her love the lie,/Makes Hope a fool, and Sorrow wise” (20-21). The parallel between the temperaments of Nature and Time is continued in stanzas two and five. Stanza two describes the mistress that Nature makes for Love. This mistress, who is made of “snow and silk” instead of earth, has features that are easily broken (3). Each external feature is individually fragile: her eyes are made of light, which cannot even be touched, her breath is as delicate as a violet, and she has “lips of jelly” (7-8). Her demeanor is unreliable, as well; it is made “Only of wantonness and wit” (12). It is no surprise that all of the delicate beauty Nature creates in stanza two is destroyed by Time in stanza five. Time “dims, discolors, and destroys” the creation of Nature, feature by feature (25-26). Stanzas three and six complete the parallel. In the third stanza, the mistress is made, but in her is “a heart of stone” (15). Ralegh points out that her charm o...
The chapter’s second line, “It was only one phase of the multitudinous emotions which had assailed her,” suggests that Edna’s emotions are influenced by other individuals; the primary definition of “multitudinous” is “including a multitude of individuals” (Merriam Webster’s Collegiate Dictionary). It is as if more individuals than just her self populate Edna’s mind. These men (she hears no women’s voices) express their own wishes and wants, not Edna’s. Their voices and emotions “assail” her violently. First, Edna feels irresponsible - an odd emotion after an unfaithful act. She feels irresponsible as a married woman for she has not performed her appropriate duties, or rather, she has performed inappropriate duties as a married woman. This irresponsibility is the voice of society. Edna additionally experiences a sense of shock at something new, something out of the ordinary. Her customary way of life does not include intense sexual situations. Next, Edna senses her husband’s “reproach” - his rebuke and disapproval. She does not sense his anger or his jealousy, emotions which would perhaps be more appropriate for a man whose wife has been unfaithful to him. Rather, he is concerned with what “society” will say. Her mind’s portrayal of Mr. Pontellier’s response is quite accurate; when Edna writes her husband to let him know she is moving out, he is not angry or sad, but rather concerned with society’s estimation of the situation. He joins society in disapproving of her. Then comes Robert’s reproach, which she attributes to a “quicker, fiercer, more overpowering love....” Robert’s disapproval, then, comes from love, not from society’s cares and not from a desire to protect her (or himself) from society’s judgment. Yet this love is not Robert’s, but rather her own. The love has “awakened within her toward him” - and thus appears the title of the novel. She has been awakened to her love of him.
As we progress further into the poems, the different ways Duffy presents gender dominance becomes obvious. In LRC, Duffy develops the budding romantic relationship between the persona and the wolf, deviating from the original tale because the persona is a willing, complicit participant in her own seduction:
La Notte and Red Desert examine the destructive nature of the structure and morality of marriage. Couples learn in difficult, painful and embarrassing ways that they cannot obtain the intimacy they wish, but their only escapes are road blocked. As a result, they are unhappy, and they teach their children this unhappiness, thus creating a never ending cycle.
Neither husband is portrayed as brutal or sinister, rather the opposite. Yet, due to the oppression of women in the 19th century, both wives are unfulfilled and conflicted in their marriage. Women were not seen as sexual beings, and it did not matter whether or not they enjoyed the marriage bed. It was a man’s world, and women were there only to provide comfort and heirs.
Men and women are born two different kinds of species. They have different responds and attitudes in a great number of ways. The difference between men and women in Dorothy Parker's 'A Well-Worn Story' is represented through the attitudes of the man and the girl towards their relationship, the girl is passionate and zealous about this relationship, while the man is lukewarm and passionless. First, this essay will examine the girl's attitude towards this relationship, next it will demonstrate what is the man's attitude towards this relationship.
“The Demon Lover” exhibits much support of the one critic’s claim that “The Demon Lover” is “a masterful dramatization of acute psychological delusion”. Elizabeth Bowen does this through her uses of literary elements, specifically characterization and occasion. But although she has many details that support a story of a woman with psychological delusion, her main intention may have been to create a ghost story to disguise the woman’s psychological issues. Ultimately, it was a story of a woman with a mental
In “The Yellow Wall-paper by Charlotte Perkins Gilman, the unnamed female protagonist is going through a rough time in her life. (For now on, this paper will refer to this unnamed character as the “the narrator in ‘Wall-paper,’” short for “The Yellow Wall-paper. The narrator is confined to room to a room with strange wall-paper. This odd wall-paper seems to symbolize the complexity and confusion in her life. In “The Story of an Hour” by Kate Chopin, the protagonist, Mrs. Mallard must also deal with conflict as she must deal with the death of her spouse. At first there is grief, but then there is the recognition that she will be free. The institute of marriage ties the two heroines of these two short stories together. Like typical young women of the late 19th century, they were married, and during the course of their lives, they were expected to stay married. Unlike today where divorce is commonplace, marriage was a very holy bond and divorce was taboo. This tight bond of marriage caused tension in these two characters.
Immediately, the narrator stereotypes the couple by saying “they looked unmistakably married” (1). The couple symbolizes a relationship. Because marriage is the deepest human relationship, Brush chose a married couple to underscore her message and strengthen the story. The husband’s words weaken their relationship. When the man rejects his wife’s gift with “punishing…quick, curt, and unkind” (19) words, he is being selfish. Selfishness is a matter of taking, just as love is a matter of giving. He has taken her emotional energy, and she is left “crying quietly and heartbrokenly” (21). Using unkind words, the husband drains his wife of emotional strength and damages their relationship.
...seful miscommunication between men and women. Lastly, when looking through the imagined perspective of the thoughtless male tricksters, the reader is shown the heartlessness of men. After this reader’s final consideration, the main theme in each of the presented poems is that both authors saw women as victims of a male dominated society.
In Mrs Beast, Duffy takes a strong feminist stance by encouraging female dominance through taking control of her own sexuality. This is portrayed through the sexual imagery and language used by the protagonist of the poem. The voice of the poem boasts about her intellectual and sexual dominance over her partner, who she names “The Beast”. Her bragging about her sexual experiences is akin to that of a school boy; she describes “the grunts, the groans, the yelps” of her sexual partner, and takes pride in stating that she “had the language”. This suggests that the combination of sexual awareness and higher intelligence in women allows them the power to dominate men. However in this context this feels uncomfortable and somewhat abusive, as her
The short stories “Souls Belated” and “The Yellow Wallpaper” have in common ‘Marriage’ as main theme. However, the marriage is treated quite differently in both short stories. In "Souls Belated", Lydia chooses to take control of her destiny, to deviate from conventions and to choose what is good for her. She is the strongest character of the couple. Whereas, in "The Yellow Wallpaper", the name of the main character who is also the narrator of the story is not known. She is identified as being John’s wife. This woman, contrary to Lydia in "Souls Belated" is completely locked up in her marriage. This essay will first describe and compare the characters of Lydia and John's wife in the context of marriage, and then it will look at how marriage is described, treated and experienced by couples in these two short stories.
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
Attitudes toward love and sex are one of the major themes of the poem. The introduction to "The Waste Land" in The Norton Anthology of English Literature states that "This is a poem about spiritual dryness," and much of this spiritual dryness relates to the nature of the modern sexual experience (although there are also other aspects of spiritual dryness the introduction also notes that major themes include a lack of a "regenerating belief" that gives "significance and value to people" and a type of death that "heralds no resurrection"). (Introduction 2146) Comparisons of different types between past and present are often used to highlight the nature of this modern sexual experience, which is pictured as empty, as lacking in both romance and passion, and as fruitless. Lil's rejection of her offspring (line 160) has already been mentioned; other examples abound throughout the poem. One example is furnished by the seduction of the typist by the "young man carbuncular," described by Tiresias in lines 230-256. This scene describes a seduction seemingly without any love or passion. The typist seems to have no desire for sex, but no desire to resist seduction, either -- the young man's "caresses are unreproved, if undesired." (lines 236-237) Her single emotion expressed in the passage is a vague relief when the episode ends. Eliot follows the scene of seduction with these lines: