Orlando is the paragon of Virginia Woolf’s literary genius. Published in 1928, the novel is a fictional biography of Woolf’s friend Vita Sackville-West. The novel is dedicated to Vita and "has been called ‘the longest and most charming love letter in literature’" (Meese 469). This crucial biographical context is often overlooked, a displacement which hinders the f...
The purpose of this paper is to compare and contrast between various wedding customs that are prevalent in different continents of the world. The essay sheds light on culturally diverse traditions that originate in different parts of the world. It is the wide variety or cultural conventions that give each nation or tribe a unique identity. Every culture has ...
...English history and the English way of life is re-created. The temperament of each age is conveyed in a series of vignettes: the boy Orlando kneeling with an ewer of rose-water before the aged Queen Elizabeth, the Great Frost of James I's reign [where he wakes up not remembering a thing about it], Pope unforgivably witty at a fashionable tea-party”(page 131, Blackstone). As Orlando went through each faze of her life, she constantly tried to measure up to the ways of each society she entered. Every place she tried to fit in made her feel as if she just did not belong. However, when Orlando became a woman she did not lose the sense of her identity, she retained it and instead of being disappointed that every time she tried to conform she continued to press on until she was finally at a place in her life where she was content to be an independent person, living in her own world. She realized that even though she matured over the years, she remained true to herself despite the conditions, and restrictions society tried to place her in.
Austen juxtaposes the nineteenth century definition of a happy marriage with the opportunistic match of Charlotte Lucas and Mr. Collins. Charlotte, a quiet but clandestine young woman, marries Mr. Collins, a hubris gentleman, purely for the opportunity of the moment. She quickly consents to his proposal despite their being intimately unacquainted. Every aspect of their pairing is part of a calculated plan formed by society, binding these two people together for the sole purpose of the image it will portray over the town. However, Austen makes it evident Charlotte is equally aware of her motives towards the marriage, as she commits to Mr. Collins for her “disinterested desire of gaining an establishment” (Austen 97). The potential for property and financial freedom clouts all other reason for marriage and leaves Charlotte blindly accepting his offer, even though her prospect of future happiness remains inauspicious. Austen is giving the stereotypical version of the nineteenth century marriage; it is one of marrying for the prospect of higher societal grounds, and it becomes a pure “want o...
The notion of power is presented in various ways in Woolf’s ‘Orlando ‘and Campion’s ‘The Piano’. This essay will compare these two texts and how they show power in different, yet similar ways. The first part of the essay analyzes the basic idea on gender roles of the Victorian and 19th century. The second part analyses Orlando aristocratic background and his ability to inherit riches. This is compared with Orlando as a woman who is unable to inherit. Thirdly, there will be a comparison on Orlando and the Piano, and how the women control the men. Lastly, the main points are summarized in the conclusion.
Throughout the works of Jane Austen’s Pride and Prejudice and William Shakespeare’s A Midsummer Night’s Dream, the themes of marriage and love are developed through the complexity of the situations that the characters encounter with one another. In Pride and Prejudice, the Bennet girls feel a pressure by society to find a man and get married by a certain age and that is simply how life is supposed to go for these young women. The women’s desires to settle are for the sole purpose of security and this can lead to unhappiness in a marriage of convenience. In A Midsummer Night’s Dream, the characters feel real true love and want to marry for the sole purpose of being together for the rest of their lives. This contrast of motives for marriage ultimately leads to a contention with a partner or love affair that will last a lifetime. Although the desire to marry in Pride and Prejudice may often lead to a dull relationship, the fairy world of A Midsummer Night’s Dream is not present and able to allow for everything to work out, therefore, Austen does a superior job at showing
In the Victorian novel marriage is preeminently the foundation of social stability. As a quasi-contractual agreement, it sets up the participants as a center for other integrating relationships. These relationships are not simply necessary for society; they constitute it. And that larger social and historical life, the world of symbolic relationships, forms in dialectical turn the structure that orders individual behavior in Hardy’s novels. (Ramon Saldivar, 615)
Edith Wharton, the victim of a loveless marriage of twenty-five years, critiques the absurd manners in which New York society regarded marriage during the 1870’s in her ninth novel, The Age of Innocence. In the rapidly changing society that was New York City during the late 19th century, strict societal rules were put in place in order to create structure for those who yearned for it. Rules regarding marriage were included in this need for structure. However, whilst the ridiculous traditions and rules were put in place to create stability, and perhaps in turn naïve happiness, they actually resulted in a society that based marriage in a façade. Throughout The Age of Innocence, Edith Wharton satirises marriage in this society through the ridiculous protocols of the wedding day, Newland Archers and May Wellands behaviour on the day of the wedding, and the behaviour of the other characters in attendance on the day of the wedding.
...ch woman when in fact it is not very clear what she is. Woolf posits that her choice of clothing points to something deeper: "Clothes are but a symbol of something deep beneath. It was a change in Orlando herself that dictated her choice of a woman's dress and of a woman's sex" (188). If only it were possible for us to change our genders and all the social baggage that comes with them merely by changing our clothing? But Orlando's life is in some ways magical, and this makes it possible.
First of all we should account for the situation of English women during the eighteenth century, that despite several social improvements, continued having less rights or freedom than men within the family and marriage as an institution. Patriarchal forms were still a deep-rooted custom that ruled society, which was male-centered. Marriage was often forced on women as their only way of having a recognized position in society, but at the same time led them to slavery. Women's property could be spent to the discretion of the husband as she was considered, together with all that she owned, a possession of the husband. Significantly relevant is the fact that the convention of marriages arranged by parents was still widely accepted.