“She’ll be a fool – that’s the best thing a girl can be in this world, a beautiful little fool” (Fitzgerald 17). In the novel, The Great Gatsby, this is what Daisy hopes for her daughter. Unfortunately, being a woman with a voice and a sense of freedom is reprimanded more than a beautiful little fool. Instead of blaming the female characters for their emptiness or recklessness, there is more to be said about why they act this way and how this is viewed in the perspective of men in the novel. The actions of Daisy, Jordon and Myrtle are not necessarily spiteful until it hurts or belittles the male characters.
Aylmer undoubtedly loves his wife and admires her beauty at first. The birthmark like the garden possess a charm that at first allures others to recognize the women’s beauty. But overtime her one flaw the birthmark drives him to insanity which consumes him. This is very different from the character of Dr. Rappacinni who never really shows any love towards his daughter. Aylmer reassures Georgiana that he can rid her of this fatal flaw place by nature; “I feel myself fully competent to render this dear cheek as faultless as its fellow; and then, most beloved, what will by my triumph when I shall have corrected what Nature left imperfect in her fairest work” (Meyer, 401)!
In Yonec and Guigemar both women are described as “noble,” “sweet,” and “faithful” women (44, 90). Despite this, they suffer under the burden of being mal-marriee and are not idealized as they commit adultery. However, unlike the latter discussed, evil women whose lust causes their demise, these women are exonerated from Marie’s critiques. This contrast is not a contradiction or an accident rather it is Marie’s representation of the social reality prevalent among nobility of the twelfth century whose fin’ Amor marriages were based on political or monetary benefit. Thus, through the female figures in Yonec and Guigemar, Marie comments on the social realities medieval women were forced to live under because of fin’ Amor conventions.
Dillard gives the insight of a girl that is imprisoned by society as a fix composition to serve her life as just one ordinary woman. This also presents the writer's purpose but it in a subtle way. "I have loved, O Lord, the beauty of thy house and the place where dwelleth thy glory." Unlike The Glass Castle, Dillard's sense of struggles was completely different yet reasonable. She protested that even though she is a girl, she can be as magnificent as the other boy were perhaps even better.
Rowena is the illustration of the chivalric ideal of womanhood: she is fair, virtuous, loyal, chaste and gentle. She is proud and a little snobby due to her sheltered upbringing, but she is also considered mild and gentle. However, Rowena still succumbs to the stereotypical ideas of women during this time period. Throughout this book, Rowena is basically like a pawn for men than an actual character in her own sense. For example, her protector, Cedric, wants her to marry Athelstane so that they can birth a strong line of royal Saxon children.
She is such a stereotypical female character in a negative way. Fitzgerald portrays her as such a pure, pretty, proper character, but she does not really have a personality. She is stereotypically a bad driver, obviously, because she is a woman, but when it comes to her personality she’s just another cookie cutter woman in the 1920’s. Males overlook her because she is a celebrity and obviously she can’t use her head, but they trust her for as long as they still find her interesting. Once they decide that she does not have much of a personality, they abandon her and find someone better.
Paul 's mother Hester can be described as bitter at best. She was a pretty woman but that was as far as her beauty went. She did not really love her three children, but felt the need to keep up a sick facade of being a good rich mother. She lived a double life and valued keeping up her social position so much so that she felt the need to have servants despite not having the finances to do so. She also irritably claimed that the reason they had no money was because the kids ' father and her husband was an unlucky man.
Jane stated, “John laughs at me, of course, but one expects that in marriage.” (Gilman) from the statement the reader can deduce the fact, that unequal balance between male and female in marriage was common. Throughout the story of Jane being neglected and belittled, leads to her losing her mind at the end go the story. Jane imagines that a woman is in the wallpaper to hide her problems. As she understands that the women trapped in the wallpaper is a reflection of herself she free herself mentally. Resulting in her going
He is only to be reminded that they are not only unsupportive but also dysfunctional. (Ultimately his frustration is compounded when his wife is able to acquire the money from her parents.) Weiner does a good job of lightly presenting an aspect that sits in your subconscious - that perhaps the women in this show are the smart ones and the men are to be pitied and disrespected. Despite their patriarchal positions within the company, they repeatedly are shown up by the women and rescued by them. All of the main female characters, despite being in subordinate positions, repeatedly end up saving the day (Betty carrying off the birthday party despite Don’s absence, Peggy coming up with the good ideas at the Lipstick meeting, Joan running the office, Trudy getting the money to buy the apartment).
Connie has been described as having a flirtatious personality and a tendency to go off with boys, and is mostly concerned with her looks, as opposed to her sister June who has a job, a savings and helps around the house. This is seen as a fault of Connie, and her vanity in the story leads to her demise. When we first meet Friend, Connie has been fussing with her hair for hours brushing it to perfection and allowing it to air dry. This display of self-care is a source of pride and vanity for Connie. Martha E. Widmayer pointed out a quote from Christa Grossinger in “Death and the Maiden in Joyce Carol Oates’s “Where Are You Going?
But, like many others, she lacks the judgment necessary to recognize aftereffects. Cathy 's beauty entrances Mr. Edwards, who clings to the belief that her innocence is no mask. The narrator reveals that, “Love to a man like Mr. Edwards is a crippling emotion. It ruined his judgement, canceled his knowledge, weakened him" (96). With this in mind, Cathy lives a comfortable life, manipulating Mr. Edwards’ self-torturing love to pamper her and cater to her desires.
As the case of Ismene shows, faith in law, and the following the societal expectations, creates someone who is largely complacent. Ismene eventually does come around to her sister’s side, however Antigone stops her from taking the blame in her place. Happy loman is Ismene’s counterpart in Death of a Salesman, he is unwittingly the archetypical product of the system that Willy subscribes to. Happy is a serial womanizer, regarding them more as consumables than equals,
The concept of maltreatment is made to seem common in normal life. This sends out an anti-feminist message to those who read the novel. Even the main character, Janie, doesn’t regularly stand up to the injuries she sustains. Janie lets Tea Cake whip her, because she loves him. This sends the wrong message to women of the time.
After being constantly oppressed for wanting and desiring irrational things as a woman, the last marriage with Tea Cake really brings out how conformity does save one harsh words from others, but it is only by going against the rules that one can be who they are and attain