She imagined and brought to life the ‘new women’ onstage. The women she envisioned have their own experiences of challenges, rejection of male-defined norms, such as women’s honor, the male’s domination and control. (Gardner ET el, 948-949) The play, Trifles, is a murder mystery that investigates considerately the daily lives of married, rural women. The publication of Trifles in 1920 is a clear manifestation of women’s uniqueness
This suggest the theme of “The Yellow Wallpaper” is mental instability due to being confined and repressed by her loved ones. Jane was never allowed to express herself later leading to the deterioration of her mind. “I verily believe she thinks it is writing which made me sick”(Gilman 236). The housekeeper was one of the people who tried to stop Jane from writing. This quote shows how she was being repressed by the housekeeper.
“A slave is one who waits for someone to come and free him.” ― Ezra Pound A maiden with a heart filled with hope for love, shaped and twisted into a egotistical persona of her own waking. She is doomed to tragic prospects, created by her own raging expectations of romance. The maiden is Emma Bovary, whose mind is as similar of a slave to fantasy as she is to her feminine milieu. Her ideals not only harming her own mind, but also negatively affect those around her. Emma Bovary is a victim of provincialism, an occurrence where ones exposure to fiction, or otherwise, corrupts their views on life, leaving them ignorant.
Loneliness, suffering and frustration in marriage sometimes cause disintegration and make some women even schizophrenic as Mary in Lessing’s The Grass is Singing. The novel is a poignant portrayal of Mary’s disintegration and death because of her unhappy marriage. Mary who disdains the very idea of marriage is hastened into
Where the poet accepts herself as a freak and described herself having a flamboyant lust. In actual meaning freak is referred to as extremely unusual or unlikely or abnormal, where as in this poem freaks refer to the poet and the women especially the Indian women. The women who go against social norms and the women with brain is considered as a freak as an abnormal person. The poet wanted something more, beyond societal views, mental capability and being able to be appreciated and cherished from her husband but she can’t and those wants of her is considered as abnormal by the society. Therefore, the poet accepts herself as a freak, this shows her strong opponent against the society.
Yet, Radcliffe’s precocity to feminise the genre is not limited to her treatment and coverage of women’s sufferings and fears. Susan Becker further explained that her “earl[iest] twists in the feminisation of the Gothic, namely [is] in the reduction of the villain, otherwise subject of the action, to a mere function in the female subject’s transcendence of ‘her proper sphere’: the home” (“Postmodern Feminine Horror” 79-80). Striving to liberate them, Radcliffe’s narratives took the shape of suspenseful mysterious narrative of Romantic journey in which the ‘travelling’ heroine-centered narrative “who moves, who acts, who copes with vicissitude,” escaped, even temporarily, from the patriarchal confining house (qtd. in Hanson 37). Radcliffe writings opened floodgates for her female successors to write within that tradition.
At the beginning of the play Medea demonstrates a suicidal and depressing state of mind cause by the psychological harm that her soon to be ex-husband has caused her when he decides to leave her in order to marry Creon´s daughter. This statement becomes clear when she say “Oh, oh! What misery, what wretchedness what shall I do? If only I were dead!” and “Come, flame of the sky, pierce through my head I what do I gain from living any longer? Oh, how I hate living!
It proves its genuine precocity to allow the reader to know about the heroine’s ordeals, feelings of frustration as well as about her victimization within the oppressive patriarchal society. It displays women’s struggles to conceal the politics of gender roles of their epoch and to protest against the Law of the Father. In her discussion of Gothic tropes, Anne Williams reveals that Female Gothic falls under the rubric of a marginalised genre while identifying the critical reception of the gothic in the pre-romantic era with the categorization of women as peripherized subjects, admitting that this literary form has been “congenial” to them and pleasantly suited to their lower social position (Fleenor The Female Gothic 8). In one sense, this may have been a reaction to exclusion from the male-dominated ‘higher arts’ of poetic and philosophical discourse: the natural desire to express oneself finding a new and perhaps more congenial form from only gradually found critical respectability (The Gothic Tradition
Whilst Tess possesses a vulnerability that is exploited, Esther is cast out from society because of her mental disorder. A major setback for Esther’s development was the societal beliefs and attitudes surrounding mental health and its treatment, something Plath includes to highlight her own struggles with depression. This alienation manufactured her beliefs that ‘wherever I sat -- on the deck of a ship or at a street café in Paris or Bangkok -- I would be sitting under the same glass bell jar, stewing in my own sour air.’ Plath’s allusion casts Esther in the hellish realm of her own mind, a ‘glass bell jar’, forced to watch the world revolve around her when she needs their acceptance the most. The fragmented structure we see in this line through
She is a post colonial writer who reveals the true position of women in a patriarchal society and deals with the problems of women. Her novels present the longing struggle of women to establish an identity. In her novel A Married Woman, Astha is the main protagonist of the story. The story moves around her. It is a romantic story of Astha and her husband, Hemant.