So I’ll play the part of a devoted wife mi... ... middle of paper ... ...make progress through rebellion. The narrator herself was imprisoned by a masculine essence nearly leading to her death, she faded into the background. Her identity was lost in societal oppression and the force of domesticity. Du Mauriers use of Rebecca as the commander of every moment within Rebecca further accomplishes her attempt to distinguish the faults of society. An unfree world can only be dealt with if you become so absolutely free that your existence is an act of rebellion in itself.
“Yes, injured Woman! rise, assert thy right! Woman! too long degraded, scorned, opprest; O born to rule in partial Law 's despite” (Barbauld, Lines 1-3) and “He sent his bold yeomen with threats to prevent her, And still would she carol her sweet roundelay; At last, an old steward relentless he sent her-Who bore her, all trembling, to prison away!”(Robinson, Lines 36-40). The timing was perfect for women to assert themselves into society and have some sort of dominance.
It is only as the play progresses that we understand WHY she turns out to be the way that she is, that she has a very ambitious character and so enforces that upon her husband. She feels that Macbeth becoming king will benefit them both and sees killing the existing king as the fastest way to get to the throne. She then becomes gradually defeated as Macbeth’s ambition and obsession with becoming king begins to soar and spiral. She is then over-ridden with guilt and eventually feels that she cannot bear the guilt that torments her troubled mind and so decides to end it all.
I will try to analyze the method in which Shakespeare introduces the two sisters and how he hints their true identity and the events for the rest of the play during the first two acts. Although even her father calls her a shrew, Katherine has a deeper character than the epithet would imply. From the beginning we see that she is continually placed second in her father's affections, and despised by all others. Bianca on the other hand, is identified as the favorite, playing the long-suffering angel, increasing Baptisa's distinction between the two. As Katherine recognizes her sister's strategy, her reaction is as one can imagine how another would react suffering this type of bias for so many years.
At the beginning of the play, Lady Macbeth is introduced as a dominant, controlling, heartless wife with an obsessive ambition to achieve kingship for her husband. Her weak, sheltered, unsure and unstable condition is only revealed at the end of the play. However, the audience begins to see hints of this hidden nature by the manner in which Macbeth addresses her. Contrary to her supposed ruthless nature, her husband regards her as a pure being. He attempts to shield her from foreign agencies by saying, “Be innocent of the knowledge, dearest chuck,” (III.II.45).
The hag is by all accounts the idealized version of the wife of Bath. The Wife wants control over her husbands, and most likely does not get what she wants from every husband, and the hag gets what she wants from the beginning. Even though the Wife claims to have had sovereignty over her husbands she slips when telling her tale and informs us that she wishes an early death to those men whom do not let their wives gain suprem... ... middle of paper ... ... the tale truly mirrors the Wife’s own life the knight better watch his back of he to will be dead soon. The parallels that have been presented show that there are not just similarities in the tale and the Wife’s life, the prologue and the tale are the real and the ideal way that the Wife sees her world. She, like many women of her time and ours, wants control over her husbands and will do what it takes to gain it.
The example of their marriage set the standard for the ideal marriage in all classes, which is still sought after to this day. Queen Victoria broke the standard mold of marriage by marrying for love. There were, of course, political reasons that she must marry. Indirectly, the ‘bedchamber crisis’ also raised anew the question of when and how Victoria might appropriately find a husband. As she herself sometimes conceded, to live among people most of whom were much older than herself was unnatural.
The main issue for Egues, is that if his daughter succeeds in her rebellion, it is a slap in the face and shows him as weak and Faced with these harsh realities, she decides to take matters into her own hands. Hermia prepares to run away with her love, Lysander. She is a character driven by love. Love is difficult, though, as Lysander says in one of the play’s most famous lines, “Ay me, for aught that I could ever read/Could ever hear by tale or history/The course of true love never did run smooth…” (I.i.132–134). As the play unfolds, Hermia continues to defy her father’s wishes, and in the end, with the ... ... middle of paper ... ...is no longer a warrior, and is instead docile and committed to Theseus, a result of love and like the other women, love is something that has much power over her behaviour.
27) Jane Eyre’s inner struggle over leaving an already married Rochester is the epitome of the new "lovemad" woman in nineteenth-century literature. Jane Eyre is the story of a lovemad woman who has two parts to her personality (herself and Bertha Mason) to accommodate this madness. Charlotte Bronte takes the already used character of the lovemad woman and uses her to be an outlet for the confinement that comes from being in a male-dominated society. Jane has to control this madness, whereas the other part of her personality, her counterpart, Bertha Mason, is able to express her rage at being caged up. As what it means to be insane was changing during Bronte’s time, Bronte changed insanity in literature so that it is made not to be a weakness but rather a form of rebellion.
The Duchess in John Webster’s tragic play, The Duchess of Malfi, and Beatrice Joanna in Thomas Middleton and William Rowley’s The Changeling, are both strong women living in a male-dominated society. The two women attempt to free themselves from this subordination by choosing to love that they desire. Both pay with their lives for this chance at freedom, but differ in their moral decisions about how they attempt it. Beatrice Joanna’s plan involves murder, whereas the widowed Duchess merely lives the life she chooses, then plots to leave Malfi. Both women are forced into their actions, but, whereas Beatrice Joanna is Machiavellian in her actions, the Duchess is morally superior.