Shira Freiman
Malatack
Honors English – Period 5
3 November 2014
A Woman’s Role Worldwide
“Once upon a time there was a prince who wanted to find a princess, but she would have to be a real princess” (The Princess on the Pea). The prince being referred in this line of “The Princess and the Pea”, a Danish fairytale by Hans Christian Andersen, will settle for none other than the most sensitive princess available. The following line taken from “The Most Sensitive Woman in the World” by Christian Schneller of Italy, sounds almost exactly like the beginning of the Danish version. “The parents of a prince wanted him to marry, but he said, ‘“I will marry only such a woman about whom I can say with good conscience that she is the most sensitive
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She was to cook, clean, and stay at home to care for the children. A woman was expected to be prim and proper, while at the same time hunched over on her hands and knees, scrubbing away at floor scuffs left by her husband (Women in the Nineteenth Century). The version of “The Princess and the Pea” from Denmark written in 1835, implies that in order to be considered a lady, you must act like a stereotypical woman. According to Meriam-webster.com, a lady is defined as “a woman who behaves in a polite way” (Lady). The 21st Century seems to accept this definition, but back in the 1800’s, this was not always the case. “The Princess and the Pea” even goes as far as to say that the prince needed a “real princess”. In fact, when the princess greets the king, she is not believed to be a real princess. Just because she looked a bit sloppy from the storm going on, she was thought to be an imposter. The princess had to prove herself, because her word was not taken to be the truth. She was thought to not be a real lady, just because she did not look the way a man feels a woman should. After spending the night and becoming bruised by a pea that lay twenty mattresses below her, the prince finally decided that she was the real deal. The tell-tale sign that she was in fact a princess, was her sensitivity to the pea. Had she been too ‘masculine’ to not notice …show more content…
However, they are presented in such a way that is obnoxious and child-like. Crying over the littlest things, and complaining of pain from things that do not cause pain. Recall that the Danish “Princess and the Pea” was written in 1835, and the Danish feminist movement did not officially begin until 1870. Until women decided to step up and fight for their rights, it was free-range for the men to say and do what they wanted. Dansk Kvindesamfund, the Danish Women’s Society, led the movement. Until around 1915, Danish women were not even able to vote (The Women’s Movement in Denmark). The insignificance of women before the movement can be seen very easily throughout “The Princess and the Pea”, from the way she is not believed to be a princess because she does not look beautiful, to the way she complained about sleeping on the
In James Poniewozik's "The Princess Paradox" (323-325) the author explains how the idea of a feminist, independent woman becoming a fairy tale princess is a paradox and that society is engaging in a paradox through the belief of it. He utilizes the recent bout of Cinderella retellings to show the paradox of how girls cannot be both completely independent and a fairytale princess, and yet society perpetuates the paradox through believing that this is not only possible, but realistically attainable as well. Poniewozik exposes the contradictions that surround these new Cinderellas to defy these "realistic" stories that society has come to embrace. By showing how truly constrictive and illogical these fantasies are, Poniewozik also shows how hypocritical society has become for idolizing them and why this new princess is a true paradox.
Quenzer is a mother and also a blogger for The Everyday Mom Life. On August 2016, she posted an article called “Be The Princess If That’s What You Want to Be.” She argues that parents should not steer their children away from what feels normal to them. She explains that most people associate princesses and pink with girl activities and applaud those who love blue and orange. The girls who love princesses and pink should not be ignored. She states, “If I don’t believe she can [be kind, generous, and polite] while being a princess and liking the color pink, then I am part of the problem. If I don’t believe that she can enjoy things that are still traditionally stereotyped as girl things and still be strong, brave, and fearless, then what am I teaching her” (Quenzer). Quenzer claims that she should not depict what her daughter can be, but she wants her daughter to find her own passion. Quenzer adds to Liechty’s argument because she adds that even though the princess culture can teach a child values, it can also allow children to discover who they are. Quenzer also furthers Bartyzel’s claim because she argues that parents should not narrow what it means to be feminine. The author’s purpose is to inform parents that they should not limit their children in order to persuade the audience to let their child find their passions. The author writes in a suggestive tone for parents. I agree with this claim because I believe
The characterizations of women have, throughout history, been one of the most problematic subjects in literary tradition. An extraordinary dichotomy has existed with women as being both the paragon of virtue and the personification of evil. Ancient Greeks feared women, and poets such as Hesiod believed the female sex was created to be the scourge of the gods and the bane of men (Fantham 39). Romans, on the other hand, incorporated tales of brave and virtuous women as an intrinsic part of their legendary history (219). Many Catholic saints, revered for their piety, were notoriously misogynistic (Dollison 106), and yet the church counted legions of holy women in the rosters of saints alongside their male counterparts. Despite much historical controversy as to the precise nature of women, none of this confusion seems to seep into the writings of George MacDonald, and there appears to be no conflict to MacDonald’s regard towards women in his female characters in The Princess and the Goblin. The character of the Grandmother in particular is one of the most complimentary fabrications of the figure of the mature female in literature. MacDonald created this fascinating construct of femininity by steeping the Grandmother not only in the arcane feminine symbols such as spinning, pigeons, and the moon, but also in his own concept of the ideal woman, as wise and compassionate as she is mysterious.
In one, a specimen-creating brute robs a pelican child’s life and her guardian trying to bring her back to life. In the other, a prince learns the value of his frog-turned-princess and sets out on a quest to find her. Joy Williams’s Baba Iaga and the Pelican Child and Alexander Afanasev’s The Frog Princess are both critical facets of the fairy tale genre. While initially it may seem that Williams preserved no elements from Afanasev’s tale, upon a closer glance, it is evident that the two tales’ similarities outnumber their differences. By incorporating a generous portion of the original story into his, Williams’s version brings forth an innovative arrangement of classic and new. As a result, William’s tale introduces features to the tale that mirror everyday life lessons while simultaneously maintaining qualities that are reflective of the definitional aspects of the fairy tale genre.
Although Hans Christian Andersen’s “The Little Mermaid,” published in 1837, contains many patronizing nineteenth-century attitudes towards women, a value system that at least acknowledges the legitimacy of femininity shapes the fairytale. Unfortunately, Walt Disney’s 1989 film version of “The Little Mermaid” eliminates the values that affirm femininity in the original story (Trites 145)
"What's Wrong with Cinderella", an article in the 2006 New York Times, discusses the toxicity of the Disney Princess era and all the princess products, and how it largely contributes to forcing gender roles on young girls and pushes young girls to heighten their sense of being feminine. Peggy Orenstein, the author of the article and a mother to a young girl herself, doesn't like the concept of princesses and explains how everyone associates girls with princesses. Several issues and concerns are raised regarding the physical and mental impact that the younger generation might have from the excessiveness of the princess theme toys, clothing and animation. The writer believes that young girls are being influenced to think that beauty is determined
...present powerful characters, while females represent unimportant characters. Unaware of the influence of society’s perception of the importance of sexes, literature and culture go unchanged. Although fairytales such as Sleeping Beauty produce charming entertainment for children, their remains a didactic message that lays hidden beneath the surface; teaching future generations to be submissive to the inequalities of their gender. Feminist critic the works of former literature, highlighting sexual discriminations, and broadcasting their own versions of former works, that paints a composite image of women’s oppression (Feminist Theory and Criticism). Women of the twenty-first century serge forward investigating, and highlighting the inequalities of their race in effort to organize a better social life for women of the future (Feminist Theory and Criticism).
In “Escape from Wonderland” by Deborah Ross, the writer explains how the fictional characters are admired. Although they seem to be sending a bigger message to young girls. The writer talks about drawing a line between fantasy and reality. In the end Ross’s objective is to show how some Disney characters break the femininity and imagination tradition. Which can have an effect in children and how they value their own ability to have unique visions. By comparing Alice in Wonderland (1951), The Little Mermaid (1989) and Beauty and the Beast (1991) to heroines like Arabella from The female Quixote. “Charlotte Lennox’s (The Female Quixote illustrates both these conservative and progressive plot patterns, for it both draws upon and criticizes earlier romances, which themselves often both celebrate and punished female imagination and expressiveness. Therefore, like Disney’s movies today, which also use material from romance and fairy-tale tradition”, (pg. 473, Escape from Wonderland). Young women may not only begin to fantasize about a grandeur life more exciting than reality but to be disappointed with society in the workplace and relationships. For example, Meredith from Brave she is a princess that wishes to have a different life than what her mother has planned for her. She refuses to get married and have the duties of a princess. She wants to have adventures and be
In a society unbridled with double standards and set views about women, one may wonder the origins of such beliefs. It might come as a surprise that these ideals and standards are embedded and have been for centuries in the beloved fairy tales we enjoyed reading as kids. In her analytical essay, “To Spin a Yarn: The Female Voice in Folklore and Fairy Tales”, Karen Rowe argues that fairy tales present “cultural norms which exalt passivity, dependency, and self-sacrifice as a female’s cardinal virtues.” Rowe presents an excellent point, which can be supported by versions of the cult classics, “Cinderella” and “Snow White”. Charles Perrault’s “ The Little Glass Slipper” and the Brothers Grimm’s “ Snow White” exemplify the beliefs that females are supposed to be docile, dependent on the male persona and willing to sacrifice themselves. In many cases, when strong female characters are presented they are always contradicting in these characteristics, thus labeled as villainous. Such is the case of the Cinderella’s stepsisters in Perrault’s “Cinderella” and the stepmother in the Brothers Grimm’s “Snow White.” These female characters face judgment and disapproval when they commit the same acts as male characters. With such messages rooted in our beloved fairy tales it is no wonder that society is rampant with these ideals about women and disapprove of women when they try to break free of this mold.
Being beautiful for a woman is the most looked at characteristic that each of these princesses have. Attractiveness is the most important attribute that women can posses, and is often an indicator of chances of future happiness (Neikirk). This is how these princesses get by in all of these stories. But what is that telling every young girl who watches or listens to these fairytales. Are we telling these youn...
The word lady itself is simply a respectful way of calling a woman. The public added their own meaning to
Social factors have always encouraged the idea that men embody masculinity and women embody femininity and, thus, certain gender-norms are expected accordingly. In the past, such expectations were traditional and to go against them was frowned upon by the general public. Contemporarily speaking, there is more freedom to avail oneself of today than there was once upon a time. Jeanne-Marie LePrince de Beaumont’s fairytale adaptation of ‘Beauty and The Beast’ was published in 1740. During this time, men and women were compelled by the social conventions associated with their gender. When analyzing the literary work, the reader can grasp what gender roles are eminent in the characters identity and motives. By exploring the choice of language being
“The Wife of Bath’s Tale” is written in an entertaining and adventurous spirit, but serves a higher purpose by illustrating the century’s view of courtly love. Hundreds, if not thousands, of other pieces of literature written in the same century prevail to commemorate the coupling of breathtaking princesses with lionhearted knights after going through unimaginable adventures, but only a slight few examine the viability of such courtly love and the related dilemmas that always succeed. “The Wife of Bath’s Tale” shows that women desire most their husband’s love, Overall, “The Wife of Bath’s Tale” shows that the meaning of true love does not stay consistent, whether between singular or separate communities and remains timeless as the depictions of love from this 14th century tale still hold true today.
Imogen’s fortitude could only lead the world when her character escaped its ink confinement and entered the hearts of women. Women’s rights movements and Sisterhood organizations stole the spirit from Shakespeare’s princess and used it to eradicate gender bias, thereby asserting female power and integrity. Thanks to their efforts, a woman’s role no longer exists in the backdrop or offstage, but rather, in the center of the performance.
In the 16th century, women and men were defined as having specific and contrasting roles within society. Men were defined as being powerful and dominant while women were defined as being submissive and meek. These ideals can be seen across cultures and throughout time. With these definitions of gender roles in place, the text suggests that gender is a social construct therefore qualities of femininity and masculinity are subjective. This is shown when Portia cross dresses as the lawyer Balthazar (IV) and when the truths of the rings are discovered by the two women (V). The strong female characters in the play exemplify that women are not confined to their social construct as they manipulate the male characters. During the 16th century only