This dogma idolized as well as infantilized women, culminating in Coventry Patmore’s “The Angel of the House.” Patmore’s poem, written in 1854, depicts a woman so wholly defined by her relationship to her male significant other, implying that femininity is but the absence of masculinity. Femininity was elevated to such a degree that the ‘ideal woman’ was unattainable to both men and women. Victorian culture was unable, or rather, unwilling, to recognize the complexities of gender identity and expression. This vehement heteronormativity and appropriation of the female voice led to detrimental repression of femininity as Ellen J. Stockstill argues in her essay “Gender Politics in Alfred, Lord Tennyson’s THE LADY OF SHALOTT.” In “The Lady of Shalott,” Alfred, Lord Tennyson appropriates a female perspective to convey his frustration with heteronormative constraints during the Victorian Era and, in doing so, reinforces the notion of the “angel in the
Browning represents madness of the early modern period through the protagonists of his two famous literary devices, "My Last Duchess" and "Porphyria’s Lover”. Browning uses the concepts of objectification of women, acts of stooping, and lack of reflections in the character, shown through numerous literary devices. The
One of the main differences is that “Porphyria’s Lover” is written by, and is in the point of view of a man, while “Void in Law” is written by and is in the point of view of a woman. When the poem is in the point of view of the man, the poem is more about how the woman is at fault for being unfaithful and she receives consequences for doing so. When the poem is in the point of view of the woman the poem is about how depressed a woman feels after he left her to be with another woman. This shows how in this time period there was a double standard for genders, and it wasn’t as much of a big deal when the man was unfaithful than when the woman was unfaithful. In addition, the poems differ in the amount of dialogue present in the poem.
Louka despises her position as a servant, she refuses to conform to the traditional values of servility. Nicola contrasts Louka by accepting his role within society, Nicolas ambitions anger Louka who voices her disappointment telling him he has “the soul of a servant” Nicola replies with “Yes: That’s the secret to success in this service”. Throughout the play Louka challenges the accepted norms, this becomes apparent in a dialogue between her and Sergius “I would marry the man I loved, which no other queen in Europe has the courage to do...You dare not: you would marry a rich man’s daughter because you would be afraid of what other people would say of you.” (Act III, 81-82) This quote reinforces to the reader that Louka fails to accept her social status, she refuses to let her position in the social hierarchy define
Throughout her life span irrational decisions strained her path to Hollywood fame. Curley’s wife was vulnerable due to the strict guidelines set in place by her mother. These guidelines caused Curley's wife to make the sporadic decision to marry him and escape her mother's discouragement, “I always thought my ol' lady stole it. Well, I wasn't gonna stay no place where I couldn't get nowhere or make something of myself, an' where they stole your letters, I ast her if she stole it, too, an' she says no. So I married Curley.”(Curley's wife 88).
In her poem, I Cannot Live With You, Emily Dickinson challenges the construction of the concept “Romantic” poetry and the social and political morals, "not knowing when the dawn will come, I open every door possible". This statement is a layout about Dickinson 's work and how despite the fact that everything in life won 't come the easy way, always keeping the door completely always give you that chance. The poem I Cannot Live With You, written in 1848 by artist Emily Dickinson. This sonnet shares the intelligent sensibility of Romance which was Dickinson 's highlight in composing, propelling her considerations about her lover, gradually, from the first declaration to the destroying conclusion. Through the use of language features, structures and ideas, Emily Dickinson positions the audience/reader to acknowledge her perspective of the Romantic Period and why it must be incorporated into the anthology.
However, Janie still does not recognize the importance of her choice or if she even has a choice because she is part of an unchosen system from the start. The clash of generations made Janie submit to Nanny’s vision instead of her own. Instead of seeking love and natural marriage, she should seek materialism in which she has no interest. “She hated the old woman who had twisted her so in the name of love” (Hurston, 89). Logan is the culture’s definition of the horizon, the culture’s definition of freedom and definition of being a woman.
She wished to be united to an officer with whom she had danced; however, her father forced her to marry “another in a more distinguished rank of life”, whom she “promised to love, honour and obey, (a vicious fool), as in duty bound” (Wollstonecraft, 1788: 5). From this statement, there may be two interpretations for the ‘vicious fool’ that is introduced. Firstly, the ‘vicious fool’ is likely to be representing the man she is forced to marry, Mary’s father, Edward. In that case, he is being negatively represented while Eliza is being victimized, for she is marrying a man she does not love. However, there is a second interpretation regarding Eliza as the ‘vicious fool’ herself.
In “An Answer to Another Persuading a Lady to Marriage,” which may more accurately be considered an anti-love poem, Philips condemns marraige for restraining women. Philips writes of women who marry “First make the sun in private shine, / And bid the world adieu” (lines 9-10). The ‘sun’ is a metaphor for the bright personality and gifts of the woman she is concerned about. Philips believes married women are expected to remain confined to their homes, and are discouraged from allowing their gifts to be enjoyed by anyone other than their husbands. The woman in question is simply “More bright and large than this” (16).
The mysterious death of Lucrezia, wife of the Duke Alfonso II, inspired the poem, "My Last Duchess”. Robert Browning’s poem, “My Last Duchess”, is a monologue given by the Duke of Ferrara about the portrait of his late wife. The Duke is a widow and wishes to marry again. The Duke 's main intent is for a noble family to see him as a man with power and wealth but fails and reveals his true nature. There are three characteristics that the Duke reveals throughout the poem.