“I became the mistress of Mr. Glenmurray from the dictates of my reason, not my weakness or his persuasion.”(Opie, 88) As mentioned previously according to moral books and feminine ideology women’s virtuosity was associated with the preservation of their sexual chastity. If that would fail and they would forfeit their most prized quality then a breach of duty towards society would occur. This appears to have been Adeline’s case who, “out of regard to [her] own principles”(Opie, 1999: 41), desired to contract no marriage but to live a free and chaste love with the man of her heart. Clearly the innovative ideology that she tried to propagate was unwelcomed and incompatible with society’s standards, and because of that Adeline …show more content…
Yet I have to disagree with these statements because we see how Adeline’s reputation as a “fallen” woman is not the result of a shameful behavior but of her negation to conform to the norms and moral codes of the period. She is taking a stand for femininity and independence, as well as contesting the notion of the docile woman that conduct books so vehemently affirmed. Because of that Adeline has to endure the pain caused by society’s rejection, and to use Gary Kelly’s words “she is taken to be anything from naughty to vicious by other good characters”(1980: 200). Thus, we are lead to see Adeline’s virtuous character as irrelevant as long as she endorses in radical philosophies which guide women towards vice and immorality. But is her behavior in any way degenerate and leading others on “the path of sin?”(Opie, 1999: 240), or the real problem has to do more with the fact that, in a patriarchal society, Adeline professes her desires and dares to live with her lover outside the confines of …show more content…
But while Adeline “appears as spotless as ever” (Opie, 1999: 75), the same cannot be said of other supposedly virtuous women: Maynard’s sisters. Opie reveals to the reader
Her position in society as a woman placed her at the mercy of men’s insensible disposition. It is my opinion that with the help of these contradictions between the “qualities” which society attribute to Adeline and what she actually stands for Amelia Opie plays so as to show the
Can it then be a matter of surprise that “she seems to be more ill-judging than vicious” (Opie, 1999: 79) in the eyes of the
In the end she was persecuted for “overstepping” the boundaries of the socially accepted standards of the society she lived
Women who received such recognition for their outwardly contributions received a brunt of scorn and ridicule from others, as seen through Artemisia’s interactions with the characters in the book. In cases such as Artemisia’s, challenging male authority and “superiority” often times resulted in acts of violence and humiliation. As Isotta Nogarola wrote in a letter to Guarino Veronese, “Why then…was I born a women, to be scorned by men in words and deeds.” (document 9 of Did Women Have a Renaissance) Veronese’s frustration with the conditions reflects the impact of society on women’s wellbeing. The use of the sibile in court, to inflect pain on a woman in the hopes of leading her to tell the truth is an example of the innate bias towards men and brutality towards women.
Her texts are famous for addressing social and political issues, but nonetheless she does an extremely good job at blurring the boundaries with regards to her own position on the matter she approaches. Because of the obvious radical change of philosophy that the author undergoes after her marriage with John Opie, many critics are doubtful as to assign her in favor of or against the “Anti-Jacobin” movement. This lead to an abundance of interpretative works made by scholars and critics when analyzing Adeline Mowbray, and basically divided the majority in
“We hold these truths to be self-evident: that all men and women are created equal” (Notabelbiographies.com), Elizabeth Cady Stanton changed the words of our founding fathers ever so slightly. This was fitting since she is known as a leading figure of the early women's rights movement. Through her diligent work, she helped change the world for women. Elizabeth Cady Stanton was born November 12, 1815 in Johnstown, New York (Biography.com). She was the daughter of Daniel Cady and Margaret Livingston Cady (Biography.com).
Alcée was introduced at horse races, a place Edna felt liberated (Page 73). Alcée has a playboy reputation in the streets of New Orleans. Even though Edna had no emotional connection with Alcée, she felt a compelling physical interest in him, an interest that lead to her sexual awakening. The author leaves the many physical pleasure of their “affair” to our imagination. The irony of the word affair is that she did not feel like she betraying her husband.
“‘As a wife and mother,’ cried Lucie, most earnestly, ‘I implore you to have pity on me and not to exercise any power that you possess, against my innocent husband, but do use it in his behalf. O sister-woman, think of me as a wife and a mother!’ Madame Defarge looked, coldly as ever, at the suppliant, and said, turning to her friend The Vengeance: ‘The wives and mothers we have been used to see, since we were as little as this child, and much less, have not been greatly considered? We have known their husbands and fathers laid in prison and kept from them, often enough? All of our lives, we have seen our sister-women suffer, in themselves and in their children, poverty, nakedness, hunger, thirst, sickness, misery, oppression, and neglect of all kinds?”
They had no right to express their own opinion or take decisions. Women had no position in the society at that time and they were being sold as slaves. The only thing that mattered was their beauty, which was unfair. In Candide, the experiences of Cunegonde, Paquette and the Old Woman show the attitude of society towards women in the eighteenth century. They strongly refer to how badly women were treated at that time.
How do we establish virtue? For most of us, the answer is not so easily encountered, and nuance and ambiguity persistently muddy our paths to righteousness. In The Romance of the Forest, however, Ann Radcliffe explicitly crafts her characters’ morality, inventing a limited spectrum upon which most of her characters fall. On the side of uncomplicated wholesomeness exists Adeline and the La Luc family, whose introductions inform their goodness in plain terms. Conversely, the novel’s main antagonist, the Marquis de Montalt, inhabits the side of primarily uncomplicated evil (or at least, expressing a privation of righteousness).
When small, happy towns are pictured, most people imagine generous townspeople who act like a community. On the contrary, Pleasant Street in the short story “The Possibility of Evil” by Shirley Jackson, may come across as a delightful town, until more of the truth is revealed. Miss Adela Strangeworth comes off as a sweet, old lady, but as the story continues, readers will encounter that Miss Strangeworth is not the character that was portrayed at the beginning. Adela is a deceptive, obsessive, and oblivious woman who is well known throughout the town. Adela’s reputation is ruined when the townspeople identify Miss Strangeworth as deceptive.
William Shakespeare’s Much Ado About Nothing is set in the Elizabethan period. Honor during the period was established by a male’s social status/reputation, a woman’s ability to control their sexuality/purity, and a woman’s association with their father and husband. In the Elizabethan society, a man is honorable when they have shown courage and have a high social status. A woman's chastity is the most vital part of a woman and shows her honor.
Thus, Ophelia’s “madness” is determined by the extent to which she subverts female gender expectations. The more she exhibits traits traditionally associated with men, the more “mad” she becomes. In this context, Ophelia serves as both a caricature and a warning against female enlightenment as told through a patriarchal lense. She is ultimately ostracized from society, implying that women who seek freedom will receive the same fate as
In traditional gender roles, even though it puts out each gender’s best qualities, it also prevents individuals from expressing their true selves and blossoming into beautiful people. Therefore, traditional gender roles will be disposed of in today’s society. In the story, Eve’s Apology, Aemilia Lanyer argues that Adam should be at fault, not Eve. Disposing of gender roles can more easily protect both genders equally and give them both a fighting chance when they’re accused.
Although being written centuries apart, the limited expectations of women presented in ‘Othello’ and ‘A Streetcar Named Desire’ differ little from each other. The female characters are confined by society’s expectations of male dominance, female purity and virginity, and the many passive roles of women. Despite the differing legalities surrounding the position of women between the centuries in which the plays were written, both plays explore the impact of how societal conventions confine women and the ways they must comply to be safe in a patriarchal society. The behaviours and treatments of Desdemona, Blanche and Stella illustrate the attitudes enforced on and the behaviours of women throughout both periods in time and it is these attitudes and behaviours that impact the plays to the greatest extent. When characters in either plays defy their norms, or demonstrate a lack of compliance they induce negative consequences, such as the murder of Desdemona and the institutionalisation of Blanche.
This proved when the narrator’s mother always tried to get the narrator to do work that appropriate for a lady instead of outside work, however it was not something that she enjoyed. The narrator also was not considered of real helper to her father because she was a female. This proved when her father introduced the narrator as ‘his new hired hand’ to a salesman, he replied, “I thought it was only a girl” (line 76, paragraph 10).This shows how the society view girl as ‘just a girl’ at that time and it means that their roles are not really significant in the society. As being said by Alexander Pope (1688-1744), “Most women have no character at all.” (Bressler, C.E., 2011).