In Daniel Defoe’s Moll Flanders, the protagonist's rollercoaster journey began with her birth in the Newgate prison and ends in England where she lives the rest of her life repenting her sins. Along her journey, Moll Flanders meets many people as she attempts to avoid the deadly snares of poverty prevalent in the seventeenth century. Throughout her life, she fails to form emotional attachments with most of the people she encounters. However, Moll Flanders forms an everlasting relationship with the governess who helps her deliver an unwanted child and helps her survive as a single woman. The governess is an important character in Moll Flanders as her morally ambiguous personality has a profound effect on Moll Flanders; though the governess expresses mother-like love for Moll, she introduces her to the life of crime and her influence on Moll contributes significantly to the outcome of her journey.
Moll Flanders first comes to the governess because she was pregnant with an unwanted child. Even though Moll Flanders left most of her children in the care of others, she was unwilling to abandon the child without anyone to take care of him. The governess provides the child with a home and guardian which allows Moll Flanders to get married to the banker and proceed with her selfish lifestyle. Had the governess not done this for Moll Flanders, her banker husband could have discovered the similarities of Moll and his first wife as. The banker was upset that his first wife had a relationship with another man; therefore, he got a divorce from her. The knowledge of Moll Flanders’ past would have destroyed their relationship. The aid of the governess allows Moll to establish a family with the banker and live a sustainable life until his deat...
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...d to teach Moll to do the same for a while relying on crime represents the difficulties women faced during the seventeenth century.
In conclusion, the governess represents a significant character in the novel because she has an important but complex and puzzling influence on Moll Flanders. While it seems like she was hoping for the best for Moll, it is important to take into account that this novel is written from the perspective of Moll. The description of characters might reflect bias emotions favoring or opposing the characters. The governess helps shape the final end of Moll’s journey because the criminal lifestyle reintroduces her to her Lancashire husband whom she truly loved. While Moll Flanders journey had many turns and paths, she is eventually reunited with her husband with who she spends the rest of her life repenting the sins and crimes she committed.
Janet Lewis, the author of The Wife of Martin Guerre, illustrates what family dynamics were like in the sixteenth century, “…for the extend of his father’s lifetime Martin would legally remain a minor” whereas, women’s identity and importance were only known through their husbands. However, within this novel Bertrande de Rols, wife of Martin Guerre, is known as herself; this is to express that the novel was written according to her experience as the wife of Martin Guerre. Even though, it wasn’t acceptable for women to go forward with such accusations, Bertrande de Rols did the right thing pursuing Arnaud as an impostor because she knew he was not her husband despite what everyone else said. After all, she knew Martin best.
With a husband and two children at the age of twenty eight, Edna Pontillier realized that the mother-wife life was not for her. With her new found independence Edna’s husband was unsure of how to handle his new untraditional wife. “I came to consult—no, not precisely to consult—to talk to you about Edna. I don't know what ails her.”(pg. 109) Mr. Pontillier is a loving and good husband but, his slight narcissistic personality causes him to lose touch with his wife. Mr. Pontillier buys Edna bonbons and compliments her in front of their friends but it would seem that he enjoys spending time with his friends and working more than he values his time with his wife. “Coming back to dinner?" his wife called after him. He halted a moment and shrugged his shoulders.”(pg. 8) The only reason Mrs. Pontillier stays with her husband for so long is because of her children. Although the Pontillier children are not major characters they help demonstrate her true commitment. Edna would rather die than let her children think their mother left them to be with another man. “She thought of Leonce and the children. They were a part of her life. But they need not have thought that they could possess her, body...
concern to men of the seventeenth century. Out of the oppressive setting of the seventeenth century
In today’s society, many women are powerful, independent, and for the most part treated equal to men, but before the 1920's women were restrained by the men. Imagine what being a woman in this era would be like. In Susan Glaspell’s play “Trifles,” she addresses the life of women in the 1900’s by examining the marital relationships among the characters, specifically between Mrs. Wright and Mr. Wright, the Sheriff and Mrs. Peters, and last Mr. Hale and Mrs. Hale. Glaspell accomplishes this by separating the husbands and wives into different rooms in the home of the Wrights, leaving the women all together in the living room and kitchen, which is where they find the crime scene evidence. The point being is that the men did not consider what the
In actuality, she was defiant, and ate macaroons secretly when her husband had forbidden her to do so. She was quite wise and resourceful. While her husband was gravely ill she forged her father’s signature and borrowed money without her father or husband’s permission to do so and then boastfully related the story of doing so to her friend, Mrs. Linde. She was proud of the sacrifices she made for her husband, but her perceptions of what her husband truly thought of her would become clear. She had realized that the childlike and submissive role she was playing for her husband was no longer a role she wanted to play. She defied the normal roles of the nineteenth century and chose to find her true self, leaving her husband and children
The struggle the other characters face in telling Mrs. Mallard of the news of her husband's death is an important demonstration of their initial perception of her strength. Through careful use of diction, Mrs. Mallard is portrayed as dependent. In mentioning her "heart trouble" (12) Chopin suggests that Mrs. Mallard is fragile. Consequently, Josephine's character supports this misconception as she speaks of the accident in broken sentences, and Richards provides little in the way of benefiting the situation. In using excess caution in approaching the elderly woman, Mrs. Mallard is given little opportunity to exhibit her strength. Clearly the caution taken towards Mrs. Mallard is significant in that it shows the reader the perception others have of her. The initial description the author provides readers with creates a picture that Mrs. Mallard is on the brink of death.
...she has to deal with her reality because there is nothing and no one she could use to dramatize her life. Brill is forced to accept the idea that she is no more significant to the world than any one she encountered in the park. She is the old person who comes from a little cupboard. She is the person which she never wanted to be and all her attempts to preserve her false image were now null. The truth has become clear to her thus having to accept sorrow.
Margaret is an intelligent, articulate, and ambitious woman who desires to rise up in social status by marrying a man of higher social rank. She attends to those above her, in hopes of elevating her status as she becomes closer to the upper-class. As a minor character, she plays a small yet crucial role in advancing Don John’s plot to slander Hero and spoil her wedding. As a lower-class character, Margaret serves as a foil to the rich girls, particularly Hero, who embodies every attitude and mindset Margaret does not. But she also offers an alternative perspective on the upper-class characters in the play. Because Margaret is victimized because of her social ambitions, punished for wanting to rise above her ...
Miss Brill is very observant of what happens around her. However, she is not in tune with her own self. She has a disillusioned view of herself. She does not admit her feelings of dejection at the end. She seems not even to notice her sorrow. Miss Brill is concerned merely with the external events, and not with internal emotions. Furthermore, Miss Brill is proud. She has been very open about her thoughts. However, after the comments from the young lovers, her thoughts are silenced. She is too proud to admit her sorrow and dejection; she haughtily refuses to acknowledge that she is not important.
In the Dictionary of Literary Terms, Harry Shaw states, "In effective narrative literature, fictional persons, through characterization, become so credible that they exist for the reader as real people." (1) Looking at Daniel Defoe's Moll Flanders (2) and Aphra Behn's Oroonoko (3) the reader will find it difficult to make this definition conform to Moll and Behn's narrator. This doesn't mean that Defoe's and Behn's work is 'ineffective', but there is indeed a difficulty: it is the claim of truth. Defoe in his preface states, "The Author is here suppos'd to be writing her own History." (Moll Flanders, p. 1) and Behn claims, "I was myself an eye-witness to a great part, of what you will find here set down, and what I could not be witness of, I received from the mouth of the chief actor in this history, the hero himself, (...)" (Oroonoko, 75)
Mathilde marries Mr. Loisel, a minor clerk in the Ministry of Education. She becomes unhappy with the way she has to live. "She suffered because of her grim apartment with its drab walls, threadbare furniture, ugly curtains." (paragraph 3). She owns cheap belongings and still dreams of being rich and having gourmet food while her husband likes plain things and seems rather happy for where he is in life. She dreams these wonderful and expensive things and it frustrates her. A dream come true happens but instead of being happy she is upset and even more frustrated.
Mrs. Marian Forrester strikes readers as an appealing character with the way she shifts as a person from the start of the novel, A Lost Lady, to the end of it. She signifies just more than a women that is married to an old man who has worked in the train business. She innovated a new type of women that has transitioned from the old world to new world. She is sought out to be a caring, vibrant, graceful, and kind young lady but then shifts into a gold-digging, adulterous, deceitful lady from the way she is interpreted throughout the book through the eyes of Niel Herbert. The way that the reader is able to construe the Willa Cather on how Mr. and Mrs. Forrester fell in love is a concept that leads the reader to believe that it is merely psychological based. As Mrs. Forrester goes through her experiences such as the death of her husband, the affairs that she took part in with Frank Ellinger, and so on, the reader witnesses a shift in her mentally and internally. Mrs. Forrester becomes a much more complicated women to the extent in which she struggles to find who really is and that is a women that wants to find love and be fructuous in wealth. A women of a multitude of blemishes, as a leading character it can be argued that Mrs. Forrester signifies a lady that is ultimately lost in her path of personal transitioning. She becomes lost because she cannot withstand herself unless she is treated well by a wealthy male in which causes her to act unalike the person she truly is.
The female characters in Molière’s Tartuffe display feminist behaviors years before the feminist movement emerged historically. Many of their actions, words and behaviors are completely out of character for women of their time. Moliere makes a strong statement with this play by presenting female characters that go against convention. The gender inequality when the Enlightenment began was extreme. The women in this play try to fight against this inequality and in the end it is the patriarch of the family that is fooled by Tartuffe yet most of the female characters remain un-fooled throughout the play. Two of the female characters in this play, Doreen and Elmire play significantly different roles in the home. They have different personalities, different household duties and drastically different social standing. As different as these women are, they both show signs of early feminism. To various degrees they fight for want they believe is right. Dorine speaks her mind openly and does not hold anything back. Elmire is sneakier and uses her sexuality to get what she wants.
Miss Lottie, the woman that she had once believed was different from those she thought of as normal, was really a person aged from difficult times. Lizabeth’s actions, although at the time had brought her small joy and an antidote to her boredom, had effected Miss Lottie by taking away the last bit of hope and care put into the flowers. Her father was no longer the center and the support of her family, but just a person who could no longer work and earn like he had once done. Lizabeth had not noticed the change and the depression in her father, as a result of childhood blinding her to the troubles of the rest of the world. Lizabeth’s confusing emotions spurred her to continue the destruction of the marigolds, as her brother, who did not understand her actions, sat confused and upset. He was not experiencing the rite of passage that his sister was faced with. As Lizabeth is sitting in the middle of the mess she made in Miss Lottie's garden, “...that was the moment when childhood faded and adulthood began.” Lizabeth's actions as child had opened her eyes as an adult and “... gazed on a reality that is hidden from childhood.”
In regards to Flanders having sex with her own brother it would be difficult to argue that this was a predetermined event considering she truly did not know her husband was of her own flesh and blood. If, indeed, she was aware of the relation and then chose to proceed then one could discus it further in the context of freewill. As for being a whore there is no question that Flanders, especially later in her life, involved herself with such happenings, but for me it was the thievery that seemed to capture the essence of Flanders continual undoing and constant need for penitence. There is no better part of Defoe's work to capture the feelings of utter despondency then when Moll is going to steal for the first time from the apothecary's shop. Defoe prefaces the scene with a few paragraphs where Moll explains her absolute "desolate state". The crime is then set in what James Sutherland explains, "...Moll's first theft he sets the scene with such careful attention to detail that he fixes it in our minds, and gives to it that air of authenticity which, for Defoe, is almost justification of fiction". This is where Defoe's journalistic stylings shine. The reader is indeed in the apothecary and sees Moll's gaffe unfolding before him.