The concept of religion in Ophelia's apparent pious character roused several critiques discussing the relevance of the Catholic religion in her sexuality. In Chapman's article, she argues that the history of England's religion reflects that of Ophelia's time as Gertrude reports her drowning while “chanting snatches of old lauds / As one incapable of her own distress” (qtd. in Chapman, 112). Gertrude is most probably referring to Ophelia's sexual frustration when she reports about Ophelia's “[incapability] of her own distress”. As a woman passionately and physically in love with a man w... ... middle of paper ... ...dearly yet they are the reasons for her “suffocation”.
The impersonal narratives and “tragicomic” genre examine this bias within the setting. By juxtaposing the gendered depictions of religion in characters, events, and prose, Emilia Pardo Bazán and Theodor Fontane underscore the partiality of gender relations in the nineteenth century. The female protagonists of each novel, Marcelina (commonly known as Nucha) and Countess Christine, qualify as religious characters as they devote themselves to principle. In fact, clergymen in the novel describe them as “religious,” “noble” women in direct speech, although other men do not share such positive sentiments. The adjective “strict” in the definition also describes both women, as Christine and Nucha’s respective husbands, as well as Christine’s brother, express their apprehension, if not outright derision, of extreme religious devotion.
The lighting bulb is a concrete symbol of temporary, passionate, and energetic the between the lovers. In her writing, Kate Chopin symbolized a lot of emotions in throughout her story. The narrator said, “When he touched her breasts they gave themselves up in quivering ecstasy, inviting his lips. Her mouth was a fountain of delight. And when he possessed her, they seemed to swoon together at the very borderland of life 's mystery”.
Shakespeare's My Mistress' Eyes Are Nothing Like the Sun Many authors compose sonnets about women whom they loved. Most of these authors embellish their women's physical characteristics by comparing them to natural wonders that we, as humans, find beautiful. Shakespeare's "My Mistress' Eyes Are Nothing Like the Sun" contradicts this idea, by stating that his mistress lacks most of the qualities other men wrongly praise their women for possessing. Shakespeare presents to one that true love recognizes imperfections and feels devotion regardless of flaws, while satirically expressing his personal thoughts on Petrarchan sonnets. Through the use of comparisons, the English sonnet and an anti-Petrarchan approach, he creatively gets his point across.
The preference and priority was given to the ‘outer’ beauty, while the ‘inner’ beauty would be kept at bay. Christianity, on the other hand, gave moral significance to beauty; in defining beauty, or words of physical character to be associated with woman and feminine. Gradually, Sontag introduces the distinguishable beauty between men and women. She does this by recapitulating how in a Christian religion, a woman’s body was parted into many sections to be judged and scrutinized, while men are visua... ... middle of paper ... ..., women try to make themselves beautiful to attract the best opportunities possible. Susan Sontag not only emphasizes on the out of proportion catastrophe of woman and their outer beauty, but also tries to convince her audience that there is more to a woman than just looks; there is another individual right underneath the ugliness.
Living in the 1400s, she steps out of a woman's role and into the territory of a man by living her life publicly, abandoning her position of mother and wife, and recording her life in writing. Fortunately, because she was writing for religious reasons, her work was both permitted and accepted. In The Book of Margery Kempe, she describes her experiences with brilliant imagery, some of which is sexual, all of which is sensual. By using her own senses to portray her spiritual... ... middle of paper ... ... her faith as a sensual experience, Kempe creates a new way--for women in particular--to reach not just enlightenment but empowerment through worshipping God. If Margery Kempe were alive today, she would be considered eccentric but because of her creative book, she would still make it on Oprah's Book Club list.
The narrator brings out the negative side of fellowship and image by stating that desire comes from images and that fellowship can be ambiguous because it is associated with illusion. Since human are imaginative creatures and fellowship is empowered by images, the downside of fellowship is inevitable. Due to the ambiguity of fellowship and the illusions created by the imaginative minds; fellowship turns bonds between characters into bondages that chains... ... middle of paper ... ...Mr. Bulstrode suffering. Lydgate establishes a fellowship with Rosamond because he believes that she is someone who fits into his qualification of an ideal wife. However, that illusion gets crushed by Rosamond when they are faced with debt problems.
It is clear that Marvell does not have enough time to love the lady properly, and the language and structure of the poem creates an overall humorous and fun attitude towards love. ‘Sonnet,’ however, uses a structure and vocabulary that explores the unconditional great depth of Elizabeth Barrett-Browning’s true love. It is apparent in the sonnet that she has all the time in the world for her husband. As a result, ‘Sonnet’ has a more serious, religious and romantic attitude towards love compared to fun ‘To His Coy Mistress.’
It is a passion that consumes, controls, and allows one to be content with unhappiness and suffering. Emma wanted happiness and an end to suffering just like other Christians, and she knew that the solution lie in Love. In the convent, she was inspired by stories from the old maid who slipped her romance novels. In the holy atmosphere of the convent, these stories of “love, lovers, swee... ... middle of paper ... ...ll is to drag out, as I do, a useless existence. If our pains could be of use to some one, we should find consolation in the thought of sacrifice” (168).
The feminine ideals of modesty and shame when expressing sexuality are upheld in the positive depiction of the woman in poem 568 as well as the negative depiction of the harlot in poem 630. Furthermore, poem 568 has an added religious context in which the woman feels sexually liberated to enjoy erotic pleasure due to the god of love, but this is only possible because her sexual relationship with her partner was under the auspices of love. In poem 630, this was certainly not the case with the many sexual relations the woman described had with the men who loved her. By juxtaposing these two poems, we are able to thereby obtain a greater understanding of the Indian perception love, pleasure, and religion and how they all fit together in determining