She is being easily swayed by the man who is making her think that the baby is “the only thing that is bothering [them and] it’s the only thing that’s made [them] unhappy” (212). The “love” she has for him seems real to her at first, but soon she realizes it is not even true because she does not really mean anything to him and the baby she is carrying does not make him happy at all since he is going through so much just to get rid of it. She is presented with this realization when she says, “but if I do it, then it will be nice again if I say things are like white elephants, and you’ll like it” and to that he replies, “I’ll love it. I love it now but I just can’t think about it. You know how I get when I worry” (213).
Despite its short length, it has inspired much discussion due to its subtleties. Critic Nilofer Hashmi argues that “Hills Like White Elephants” is a “complex portrayal of woman’s, not just Jig’s, final compliance.” However, close examination of the text reveals that Hemingway actually demonstrates Jig’s strength as a character and the way in which she fights for herself and her child. Despite it making more sense for Jig to stay with the American because of all he is able to bestow upon her, as the story progresses, her realization that she wants more than he can provide prompts her to decide to leave the American. Her strength comes through as she makes decision to protect herself and her child. Without this understanding of Jig’s strength, the interpretation of the ending would be turned on its head completely, preventing readers from seeing her true character and leaving them thinking she had the abortion for the American rather than making a decision for herself as well as the
Up until the late 1910’s, women did not have much say with what went on in society, nor did they have much control over their own lives. It had been tradition that a woman obeyed without question and did anything in her power to please those around her. Such ideals are seen in Like Water for Chocolate, however, instead of having to follow a male figurehead, Tita, her sisters, Pedro, and even Mama Elena must obey the invisible laws of society. However, everyone finds a way to bend these laws and help get a foot into the threshold of how things are in the modern day. Through Tita, Gertrudis, Mama Elena and other characters actions, it is shown that women do have a tremendous amount of power in regards to what they do.
The witty, independent, and intelligent, Elizabeth Bennet. Despite their difference of social ranking, she declares herself equal as Mr. Darcy to Lady de Borough “He is a gentleman; I am a gentleman's daughter; so far we are equal.” as the definition of feminism is the believe of equality between the two sexes, Elizabeth Bennet is a feminist. But not only she thinks herself alike to men; she fights against discrimination and challenges the point of view of many characters. Although in her century women were pressure to get married, the heroine rejects Mr. Collins “I am perfectly serious in my refusal. You could not make me happy, and I am convinced that I am the last woman in the world who could make you so.
She is a strong, independent, intelligent woman who breaks gender and societal barriers. Stoker’s writing begs the question, how does Mina break societal barriers, but at the same time possess many traditional abilities and behaviors? Based in the late 1800’s in Victorian England, women were not likely to be educated and independent, but rather submissive to their husbands. Stoker creates Mina’s “New Woman” persona to develop the novel into more than the audience of the time would expect. Mina occupies inspirational qualities such as loyalty and strength, as well as finding a balance between her independence and not overstepping societal boundaries.
In the perspective of a millennial the issue of women being subservient to men is absurd. In current western society women are praised to be as good if not better than men at certain skills sets and attributes. The idea of female suffrage is minute to a reader from the 1920s, the idea of woman’s suffrage wasn’t developed. The reader could not be able to attach a negative connotation towards the book or the author for this fact; Whilst a reader from the 21st century would have a lot to say about the controversial topic at
According to the woman the hills, “Look like white elephants,” (p 1) which seems rather random at first, but in fact, acts like a pivot to talk about an issue. However, the American responds, “‘I’ve never seen one.” (p 1), which indicates the comparison of the hills and the white elephants are only the tip of the iceberg to the predicaments in the relationship. White elephants can be understood as two things: first, it is a reference to the idiom ‘an elephant in the room’ meaning something is being purposely ignored and later on, it refers to the idiom ‘white elephant’ meaning something unwanted despite its high value. The moment the change occurs is when the woman states, “‘They’re lovely hills... They don’t really look like white elephants…” (p 2) using complimentary words towards the hills to disclaim her previous remark on the hills and
In Pride and Prejudice, Jane Austen used personal experiences throughout the traditional 19th century to shape the viewpoints evident in both Charlotte and Elizabeth on love and marriage and use their opinions as social criticism. Much like the traditional views of the 19th century, Charlotte Lucas believed that marriage was based solely on security and not on true love. She believed, “Happiness in marriage is entirely a matter of chance. If the dispositions of the parties are ever so well known to each other, or even so familiar beforehand, it does not advance their felicity in the least. They always continue to grow sufficiently unlike afterward to have their share of vexation; and it is better to know as little as possible of the defects of the person with whom you are to pass your life” (Austen 30).
Training alludes to how the female is situated in the home and how the nurturing of the child and additional local errands has now turned into her circle and obligation. This is exactly the situation for Sethe in Morrison’s Beloved. Sethe questions the very conventions of maternal narrative. A runaway slave of the later half of 19th century, she possesses a world in which “good mothering” is extremely valued, but only for a certain class of women: white, wealthy, outsourcing. Sethe’s role is to be aloof: deliver flesh, produce milk, but no matter what happens, she cannot love.
However, the man either keeps ignoring her expression or remains uncompromised - he talks more about the operation and its simplicity, instead. In the end, the girl tries to quiet the man by saying that “there’s nothing wrong with” her and “feel fine” (Hemingway, 255) after the arrival of the train. The problem between the girl and the man remains unsettled. Overall, with the physical and biographical details about Jig knowingly understated and the employment of simple sentence structure and unadorned dialogues throughout the story, Hemingway tactfully shapes Jig into someone who seems to be lack of characterization but can be ultimately projected as a round, dynamic character if readers manage to understand ambiguous content of the story through close