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theme of marriage in the duchess of malfi
power relations between genders
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The female body is often described as a temple: a place that requires care and love from the woman who owns it. Ownership of one’s body for women in the seventeenth century, however, was non-existent. Women did not have the right to argue against men’s decisions: even when it involved their own lives. The Duchess in John Webster’s The Duchess of Malfi decides she no longer wishes to live under anyone and takes it upon herself to get remarried. Despite numerous warnings from her siblings, the Duchess attempts to claim control over her life. Her attempt, unfortunately, fails due to several factors such as her physical body, her family, and her status. This begs the question of who in this power struggle truly owned the Duchess, if not herself. Throughout Webster’s The Duchess of Malfi, readers are never told the name of the Duchess. The only information given is that she is widowed due to the recent passing of her husband and that she has two brothers. All the information …show more content…
This is the driving force behind why Ferdinand takes it upon himself to fix the wrongdoings of his sister. Ferdinand himself had affairs and was not penalized for it due to his male body. Men, without the ability to get pregnant, can hide what they have done from the public eye unless the woman gets pregnant. Men are not meant to keep this unrealistic expectation of remaining pure, as they could often save their reputations just by word of mouth if they were clever enough. Even when it came to widowhood, men and women did not have the same results. Should a man lose his wife, remarrying was not seen as shocking or damaging to one’s reputation. Sandra Cavallo and Lydan Warner discussed this idea of widowhood and state how losing a husband changed the woman’s life, while men did not have as much of a change in their everyday lives (3-4). Ultimately, Ferdinand had power due to his body that the Duchess could never
What was the predominant image of women and women’s place in medieval society? Actual historical events, such as the scandal and subsequent litigation revolving around Anna Buschler which Steven Ozment detail’s in the Burgermeisters Daughter, suggests something off a compromise between these two literary extremes. It is easy to say that life in the sixteenth century was surely no utopia for women but at least they had some rights.
The Romantic principle of individualism was shaped by the notion of man’s natural goodness which is prevented through artificial structures such as hierarchy. A Vindication of the Rights of Women was a text written to challenge the existing social and gender stratifications which constrained an individual’s freedom. Endorsing Jacques Turgot’s presentation of his Six Edicts in 1776 which proposed the elimination of privilege amongst the nobles, Wollstonecraft expresses her disdain for entitlements such as money metaphorically in her denunciation “Birth, riches, and every extrinsic advantage that exalt a man above his fellows, without any mental exertion, sink him in reality below them” exploring the dangers of the suppression of individuality.
In Chaucer's The Canterbury Tales, a reader is introduced to a rather bizarre and heterogeneous group of people leaving for a pilgrimage. The Wife of Bath is the most interesting and lively character of the group. Her "Prologue" and "Tale" provide readers with a moral lesson as well as comic relief. The Wife's "Prologue" serves as an overture to her "Tale", in which she states a very important point regarding the nature of women and their most sacred desires. According to this character, women desire sovereignty, or power, over their men most in the world. This wish seems to be most appropriate for women of the time period in which Chaucer lived. However, women today no longer wish to dominate their men - sovereignty of women over men is not relevant in the twenty-first century. The reason is that women are no longer deprived of power and freedom.
The first chapter in the book dealing with marriage demonstrates a clear and precise attitude towards women and their social standings in society. The Zoé Mignault case was a perfect example of how the patriarchal system was in affect. The father controlled every aspect of a young girl’s life, including picking a husband for her. The legal system at this time simply encouraged this type of action and supported these types of power imbalances.
Her chief arguing points and evidence relate to the constriction of female sexuality in comparison to male sexuality; women’s economic and political roles; women’s access to power, agency, and land; the cultural roles of women in shaping their society; and, finally, contemporary ideology about women. For her, the change in privacy and public life in the Renaissance escalated the modern division of the sexes, thus firmly making the woman into a beautiful
Women were auctioned off as “merchandise” to the best suitor they could get in town. Beauty, though important, was not as important as the dowry the woman possessed, because it was the dowry the family provided that could exalt a man’s societal status to all new heights. Once married, women were expected to have son’s for their husbands in order to take over the family business. A barren woman was not an option and could have easily been rushed to the nearest convent to take her vows of a nun, for no honor could be brought otherwise. No woman could run from the societal and legal pressures placed upon them. Rather than run, some chose to accept their place, but, like Lusanna, some chose to fight the status quo for rights they believed they
Two hundred years ago, during the reign of Queen Victoria in England, the social barriers of the Victorian class system firmly defined the roles of women. The families of Victorian England were divided into four distinct classes: the Nobility or Gentry Class, the Middle Class, the Upper Working Class, and lastly, the Lower Working class . The women of these classes each had their own traditional responsibilities. The specifics of each woman’s role were varied by the status of her family. Women were expected to adhere to the appropriate conventions according to their place in the social order . For women in Victorian England their lives were regulated by these rules and regulations, which stressed obedience, loyalty, and respect.
In the “Wife of Bath’s Prologue” and Margery Kempe women are empowered to make decisions regarding their own sexuality. This deviates from the gender constructs of the time period by allowing these women to dictate the course of their own lives: the Wife of Bath chooses to use her sexuality to acquire money and possessions, while Margery Kempe dedicates her sexuality to her spiritual beliefs. By working strategically to gain sexual independence both women move beyond the generally accepted position of a women at the time.
These ‘roles’ are divided into six legitimate categories of Wives, Daughters, Aunts, Handmaids, Marthas and Econowives. Each category of women is required to perform their task properly, whilst obeying the rules set down for them by the patriarchal government. To illustrate, each group has different functions in the society, but still no one woman is able to act as an individual. The handmaids, for example, have been reduced to the ability to create another life, their fertility –
Many critics throughout the years have given the Wife of Bath a title of that of a feminist. She is a strong-willed and dominant woman who gets what she wants when she wants it, by manipulating her husbands into feeling bad for things that they didn’t do, or by saying things that put them to utter shame. No man has ever been able to give an exact answer when she asks to know how many husbands a woman may have in her life...
comment more than were it to be made in public to a group of people.
From the beginning of this work, the woman is shown to have gone mad. We are given no insight into the past, and we do not know why she has been driven to the brink of insanity. The “beautiful…English place” that the woman sees in her minds eye is the way men have traditionally wanted women to see their role in society. As the woman says, “It is quite alone standing well back from the road…It makes me think of English places…for there are hedges and walls and gates that lock, and lots of separate little houses for the gardeners and people. There is a delicious garden! I never saw such a garden—large and shady, full of box-bordered paths, and lined with long grape-covered arbors with seats under them.” This lovely English countryside picture that this woman paints to the reader is a shallow view at the real likeness of her prison. The reality of things is that this lovely place is her small living space, and in it she is to function as every other good housewife should. The description of her cell, versus the reality of it, is a very good example of the restriction women had in those days. They were free to see things as they wanted, but there was no real chance at a woman changing her roles and place in society. This is mostly attributed to the small amount of freedom women had, and therefore they could not bring about a drastic change, because men were happy with the position women filled.
Women were regard as a second class of people. They had neither legal right nor respect from their male counterparts. When the narrator's husband, John, a physician, placed the narrator in the horrid room with yellow wallpaper, and bed-rested, he claimed that he knew what is best for his wife. The narrator had no choice but to obey her husband since her brother, who was a male physician, was convinced by her husband's theory. "So I take phosphates of phosphites-whichever it is-and tonics, and air and exercise, and journeys, and am absolutely forbidden to "work" until I am well again" (pg277). Male domination is clearly seen here as the males claimed that their decision was always the right choice. "I thought it was a good time to talk, so I told him that I really was not gaining here, and that I wished he would take me away"(pg283). The narrator tried to convince her husband to change his treatment because she thought that her husband's prescription was not working for her, instead her husband asked her to go to sleep. Her husband's ignorance clearly shows that even the narrator herself had no power over her own health. She just simply said, "But ...
In Michael Ondaatje’s The English Patient we see a world completely ravaged by war. The land itself is damaged, sometimes beyond recognition as it is torn apart by bombs. Just as these human-made structures have faced the damage of imperialism, so have female bodies in the novel. Ondaatje creates several parallels between man’s attempt to “own” the land around him and his “ownership” of the female body. As we see in the novel, this attempt at ownership almost always ends in destruction, “war,” and often, death. What I believe Ondaatje is trying to present to us is the impossibility of “owning” something that should ultimately be free, such as the female body (or any body, for that matter.) Though some feminist theorists such as Lilijana Burcar have claimed Ondaatje’s novel perpetuates the idea of male ownership of female bodies, I believe we see several examples of female empowerment hidden throughout the novel; examples of females outwardly rejecting such “ownership,” as Hanna refuses to be seen as a sexual object by Carravagio, and even changes her appearance to “defeminize” herself. We even see gender-roles reverse. The “male gaze” seems to apply not only to males, but to females as well as Hanna views the sapper, Kip, in a “feminized” and often “sexual” way. Most striking of all, however, is Ondaatje’s representation of the character Katharine as an almost voiceless physical body which is undoubtedly “owned” and consumed by Almasy’s desire. As we see, this “ownership” leads to what is arguably the biggest destruction in the novel: the destruction of both Katharine and Almasy altogether.
The Cardinal and Ferdinand, the brothers of the Duchess, are very much against their sister’s re-marriage. Ferdinand urges her not to marry again. He condemns it because he thinks that it shows a lustful nature.