Social Class In Eliza Haywood's Fantomina

Carol Karlsen 's The Devil in the Shape of a Woman: Witchcraft in Colonial New England provides a sociological and anthropological examination of the witchcraft trends in early New England. By examining the records, Karlsen has created what she suggests was the clichéd 'witch ' based on income, age, marital status, etc. She argues that women who had inherited or stood to inherit fairly large amounts of property or land were at particular risk, as they "stood in the way of the orderly transmission of property from one generation of males to the next." These women, Karlsen suggests, were targeted largely because they refused to accept "their place" in colonial society.

In his play The Importance of Being Earnest (1895, London St. James’ theater), Oscar Wilde portrays the attitudes and society of Victorian upper class through character interactions within the ‘Bunburyist’ adventures of Algernon Moncrieff and Jack Worthing. The play’s comedic elements, in addition to the portrayal of power structures, are used as an effective medium to challenge the viewer to reflect upon Wilde’s criticism on institutions and values of the aristocracy. In conjunction to this, deeper analysis can be conducteds about marriage in Victorian aristocracy and their attitudes to members of other social groups.

“Before the Civil War, laws and traditions restricted women’s choices.” In the passage “Breaking Tradition” by Kathleen Ernst women’s restrictions during the Civil War time are addressed through many ways of telling what they wore and relation back to their jobs, and how they began to protest these ways. Though their rights were restricted, the author was very effective with backing up how the Civil War changed the way women and their rights.

Social class played a key role in the Elizabethan Age; without social hierarchy society would have fallen apart, the people did not know of anything else other than the role of classes. Each class had different situations of life, some were wealthy and had nice homes while others were poor and living off of the streets. The class rankings were given to each individual by situations such as birth, fame, wealth, and known skills(“Elizabethan Era.”). One could only move up a class by the Queen's approval, obtaining sudden wealth, going into debt, losing your job, and many other specific conditions(“Elizabethan Era - The Lost Colony.”). For instance, marriage between two people from separate classes could alter social class and was often frowned upon. In the Elizabethan age, social class structure was paramount. The class ranking dictated how the people of each level could dress, the diet and food available, and career standing.

Women in the 1600s to the 1800s were very harshly treated. They were seen as objects rather than people. They were stay-at-home women because people didn’t trust them to hold jobs. They were seen as little or weak.

Eliza Haywood writes the cautionary tale Fantomina in order to instruct women against pursuing their sexual desires. The protagonist, an unnamed “Lady of distinguished Birth” (41), secretly pursued her desires for Beauplaisir under the guise of four different personas, ultimately leading to the ruin of her reputation and being sent to live in a monastery. I will refer to the main character when she is not disguised as the protagonist to avoid confusion. I will be discussing female sexuality, where I will be focussing on certain aspects including sexual identity, sexual behaviour, and how social and religious aspects affect this sexuality. I will argue that Haywood uses the cautionary tale in order to represent female sexuality as distinguishable

In Edith Wharton’s most remarkable novel, Ethan Frome, the main character, Ethan Frome, is in love with a prohibited woman… his wife's cousin. His wife, Zeena, is a sick woman who has a villainous essence to her and an irrevocable hold on Ethan. Mattie Silver is Zeena’s cousin and the woman Ethan is infatuated with. Through Ethan’s eyes, Mattie is described as youthful, attractive, and graceful basically everything Zeena isn’t. This references to the theme: society and morality as obstacles to individual desires.

Essentially, marriage in the 1700’s was seen merely as a means of birthing heirs and finding a way to financially support yourself, so it resulted in both men and women being devalued. It is universally known that women were often treated as inept and helpless rather than sophisticated people with autonomy and capabilities. In fact, during this time, “married women were consistently compared with minor children and the insane-- both categories of people considered incapable of caring for themselves. To marry a woman was, in one sense, to ‘adopt’ her-- or at least to adopt responsibility for all the circumstances of life with which she entered the marriage” (Teachman 39). Furthermore, when women got married, they would legally cease to exist.

First Generations: Women of Colonial America, written by Carol Berkin, is a novel that took ten years to make. Carol Berkin received her B.A. from Barnard College and her M.A. and Ph.D. from Columbia University. She has worked as a consultant on PBS and History Channel documentaries. Berkin has written several books on the topic of women in America. Some of her publications include: Revolutionary Mothers: Women in the Struggle for America's Independence (2004) and Civil War Wives: The Life and Times of Angelina Grimke Weld, Varina Howell Davis, and Julia Dent Grant (2009). The prejudice that the author brings forward strongly is the notion of feminism.

Within the past year, the treatment and perceptions of women have been challenged due to the various marches and movements. Nathaniel Hawthorne’s romance, The Scarlet Letter, presents how women were viewed in a Puritan society, falling into a rigid dichotomy of either being the “saint” or “sinner.” This is otherwise known as the “Madonna/Whore complex,” which is explored through the life of the novel’s protagonist, Hyster Prynne. Her struggles and experiences through this dichotomy ultimately affect her both physically and emotionally as it represses her femininity.

Throughout history the existence of patriarchy has threatened women’s rights to equality and self-determination. Patriarchy manifested itself in the marriage practices of early modern European society and became the foundation on which couples built their love and partnership. During the sixteenth century, literature describing ideal wives and husbands was a popular genre, but works about female gender roles were more prevalent. The Bride, a poem published by Samuel Rowland’s in 1617 details the duties of a good wife and life partner.1 The duties listed in Rowland’s poem were very common for women at that time and can also be seen in Steven Ozment’s book, Magdalena and Balthasar. Ozment’s book documents the relationship of Nuremberg Merchant Balthasar Paumgartner and

In Shakespeare’s play Romeo and Juliet, the young couple gets married when Juliet is fourteen years old. In the fifteen century, during Romeo and Juliet’s time, marriage at a young age was extremely common, whereas in modern times many people get married close to thirty. Age is not the only wedding custom that differs today. Unlike the fifteenth century, in today’s society people are able to marry anyone they choose, people marry for much different reasons, and what is expected from the couple’s families have changed.

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). Although a convincing argument might be made that Radcliffe’s characters are all, at different moments, sympathetic and morally

women don’t base a marriage proposal off of wealth, instead for love. More women in

In “Jane Eyre” Charlotte Brontë rejects the traditional role of women subdued by social conceptions and masculine authority by generating an identity to her female character.