Lucy Honeychurch is a young woman who has been raised by an upper-class British family that has always made her decisions and opinions for her. Whether it’s Miss Lavish, Miss Bartlett, or her Baedeker, there’s almost always someone or something telling her what to do and what to think. Without being able to make decisions on her own, she hasn’t been able to figure out what she likes or admires or even wants. She is innocent, safe, and naïve of the world and of herself. Her first experience in the real world is when she visits Florence, Italy. She begins to find herself lost between the tedious falsities perpetuated by the pretentious upper class society and her growing instincts of what is true and beautiful. Her instincts are mainly channeled by playing the piano—her source of liberty and passion. Her music is where she gains empowerment to make decisions on her own. Another outlet for her newfound character is her albeit confusing, but growing lust for George, another member of the pension. Both her decisions and the decisions of others have led her to be alone in the Piazza Signoria where she starts to harbor a growing inner rebellion.
Miss Bartlett’s narrow-minded, confining ideas on female contribution to society paired with Italy’s vibrancy launch a change in Lucy’s approach to life. Miss Bartlett has implanted in Lucy’s mind the “eternal” concept that a woman should lead the life of the “medieval lady”, and so far Lucy has tried to complete the ladylike mission “to inspire others to achievement rather than to achieve themselves”. But as E.M. Forster puts it, the lady “becomes degenerate”. Lucy thinks that the “medieval lady” could be changing her mission because she loves the beauty of the wind, the vista...
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...ne getting stabbed is scary, but also because she realizes that for the first time she has made decisions that step outside of the societal domain she’s been raised in. She knows that living in this new layer of the world that she has been awakened to means leaving the safety of what she has been taught. In a last attempt to smother the scary impulsive feelings that she’s touched on she tells George “how quickly these accidents do happen, and then one returns to the old life”, but he tells her that he “shall probably want to live”. And George is talking about living a life that is “alive” just as the men the “medieval lady” admires. Although the murder was scary and the sexual feelings were overwhelming they were part of this new exotic life that Lucy indisputably craves. The scene ends with her contemplating the river that was an “unexpected melody to her ears.”
In the book, Giovanni and Lusanna, by Gene Bucker, he discusses the scandalous actions of a Florentine woman taking a wealthy high status man to court over the legality of their marriage. Published in 1988, the book explains the legal action taken for and against Lusanna and Giovanni, the social affects placed on both persons throughout their trial, and the roles of both men and women during the time. From the long and complicated trial, it can be inferred that women’s places within Florentine society were limited compared to their male counterparts and that women’s affairs should remain in the home. In this paper, I will examine the legal and societal place of women in Florentine society during the Renaissance. Here, I will argue that women were the “merchandise” of humanity and their main objective was to produce sons.
The concern of this paper is the “happy ending,” typical in Women’s Fiction according to Harris (46), present in A New England Tale, in which Jane Elton sacrifices her autonomous self through marrying Mr. Lloyd. I will critique this ending by applying several of the points Harris makes, including the conflict between theme and structure, the “extended quest for autonomy” (50), and the issue of the self-willing and “socially determined self” (54); also, I will discuss the sexual and religious politics Jane faces, as well as the importance of her role as educator. Readers can understand the autonomous self to which I refer in a nineteenth-century context: this do...
Although the ‘Legend’ of the Wicked Italian Queen is limited by its personal malicious nature, it is credible in its demonstration of Catherine’s ambition f...
Anna Frith emerges from the traditional oppressed woman of her era, to someone who portrays a successful, independent and courageous woman of the 15th century. The remarkable transformation undertaken by Anna was seen as very rare for the setting of the novel. In this era, women where not treated with equality with men, and where rather seemingly forced to be a traditional housewife, make meals out of nothing and clean the dirtiest of home environments. Women in the 15th century where seen as nearly ‘the property of their husbands’, nevertheless, A...
In conclusion, the three women end up with different fates, they all face similar conditions within their lives. Each woman deals with their circumstances differently and it impacts not only their lives but also the men’s lives that they interact with throughout the story. Both authors highlight the key issues surrounded by the lack of power that women have, isolation, and mental health illness within the Victorian time period through their characters and enlighten the reader to the similarities and differences between the themes that Brontë and Gilman both address.
Robin, Diana, Anne B. Larsen, and Carole Evans, eds. Encyclopedia of Women in the Renaissance: Italy, France and England. Santa Barbara: Abc Clio, 2007.
...e, although the Renaissance was considered a revolutionary time period that sprung immense developments throughout Europe, this era however did not bring change to the identity and power of Renaissance women. As a result of analyzing the prejudiced regulations of female versus male sexuality, the misogynistic ideologies of society as conferred through literature and philosophy and the life of notable female Renaissance figures, it is evident that women failed to attain an era of rebirth, therefore delaying the development of female strive and liberty. The advances in the Renaissance have only served to mold the female gender even deeper into their ladylike roles; the wraths of men. Ultimately, with the fear to battle against injustice, the vision for absolute equality and strive for full feminine potential have failed to be accomplished in the shaping of our today.
Charlotte Bronte's Jane Eyre may be superficially read as simply a sweet romance in which Jane ends up with the man of her dreams after overcoming many obstacles and challenges. But doing so misses the much deeper—richer—messages of Bronte's lasting masterpiece. A more thoughtful reading reveals this novel, especially its heroine Jane, challenging centuries-old gender roles which assume male supremacy, characterizing men as the dominant, more privileged gender, while women are oppressed into inferior and submissive roles. Of course this Victorian novel portrays the expected gender roles of both men and women in 19th century England, but Jane rises out of the patriarchy challenging the social roles assigned her with a personality marked by sass and self-assurance . Ms. Bronte, through Jane, ultimately demonstrates that women can live their lives on equal terms with—or independent of—men.
Kemp, Theresa D. Women in the Age of Shakespeare. Santa Barbara, CA: Greenwood, 2009. Print.
Contrastingly, Mrs. Darling, his wife, is portrayed as a romantic, maternal character. She is a “lovely lady”, who had many suitors yet was “won” by Mr. Darling, who got to her first. However, she is a multifaceted character because her mind is described “like the tiny boxes, one within the other, that come from the puzzling East”, suggesting that she is, to some extent, an enigma to the other characters, especially Mr. Darling. As well as this, she exemplifies the characteristics of a “perfect mother”. She puts everything in order, including her children’s minds, which is a metaphor for the morals and ethics that she instils in them. Although ...
(Essay intro) In the modern day, women have the luxury of belonging to themselves but unfortunately this was not always the case. During his life, William Shakespeare created many positive female characters who defied the traditional gender roles and brought attention to the misogynistic patriarchy of Elizabethan England. One of these true feminist icons is ‘Much Ado about Nothing’s. Beatrice. The women in ‘Much Ado about Nothing’ defy traditional gender roles. Beatrice represents a brave and outspoken woman who defies the oppressive, traditional gender roles for the female sex. Her cousin Hero, however, represents those women who were successfully oppressed by the patriarchy and accepted the traditional gender roles without much complaint.
Shakespeare’s Much Ado about Nothing is, on the surface, a typical romantic comedy with a love-plot that ends in reconciliation and marriage. This surface level conformity to the conventions of the genre, however, conceals a deeper difference that sets Much Ado apart. Unlike Shakespeare’s other romantic comedies, Much Ado about Nothing does not mask class divisions by incorporating them into an idealized community. Instead of concealing or obscuring the problem of social status, the play brings it up explicitly through a minor but important character, Margaret, Hero’s “waiting gentlewoman.” Shakespeare suggests that Margaret is an embodiment of the realistic nature of social class. Despite her ambition, she is unable to move up in hierarchy due to her identity as a maid. Her status, foiling Hero’s rich, protected upbringing, reveals that characters in the play, as well as global citizens, are ultimately oppressed by social relations and social norms despite any ambition to get out.
The novel focuses on Lucy and how she changed drastically throughout the book due to the two settings. Lucy was originally from a small place called Summer Street in the England area where she had a collected
“Jane Eyre” by Charlotte Bronte is a novel about an orphan girl growing up in a tough condition and how she becomes a mature woman with full of courage. Her life at Gateshead is really difficult, where she feels isolated and lives in fear in her childhood. Her parents are dead when she was little, her dead uncle begged his evil wife, Mrs. Reed, to take care of Jane until she becomes an adult. But Mrs. Reed does not keep her promise, no one treats Jane like their family members even treats her less than a servant. By the end of this essay it will be proven that Jane’s life at Gateshead has shaped her development as a young woman and bildungsroman.
She is marginalize from society by her partner and she has to live in the shadows of him. She is unbelievably happy when she found out about the death of her husband. She expresses her feelings of freedom in her room where she realize she will live by herself. This illustrates that Louise has been living in an inner-deep life disconnected form the outside world where only on her room away from family and friends she discovers her feelings. It is important to mention that even though Louise has a sister, she does not feel the trust to communicate her sentiments towards her. We discover a marginalization from family members and more surprising from a women, Louise’s sister. The narrator strictly described Louise’s outside world but vividly reveals what is in her mind. At the same time she feels guilty of her emotional state by recognizing that she loved Brently mallard sometimes, her husband. Louise contradict herself but this demonstrates her emotional feelings about her husband disregarding her marriage. The situation of this woman represents the unhappiness and disgraceful life that women had to suffer from their