In the epic poem The Odyssey the author Homer was put in the unique position of portraying women in a light they had not been seen in before. Women in The Odyssey function as both obstacles and guides, and are contrastingly portrayed as both powerful and subservient. Women in The Odyssey, are contrastingly portrayed as both almighty gods, and powerless mortals. The goddesses play very controlling, and demanding roles in the epic. The role of the goddesses is to be a supernatural force, that use their power to help mortals.
In Dracula, the two leading ladies, Mina and Lucy, represent the two stereotypes of women that existed during the time period. The way each woman is described frames them directly against one another, because even if they are close friends, a woman’s worth is determined by how she is compared to other women. Each woman is described, as in Frankenstein, relative to their position to men and how they interacted with men. Moving past Jonathan’s time in Transylvania and back to London, the two main women, Mina and Lucy, are both markedly feminine. They don’t do anything that is “improper” by society’s standards, which makes them worthy of the respect and attention that the male characters pay them.
She is particularly drawn to female characters who, at some point in their stories, triumph over a male figure, or the concept of masculinity more generally. Mythology becomes so significant to Esch that she begins to describe events in her life in mythological terms, most notably the hurricane the arrives at the end of the novel. Esch’s recurrent references to myths, particularly the female characters, serve to emphasize the connection between femininity and strength that prevails even in her male-dominated environment. Esch is surrounded by male characters, including her father, brothers, and friends, who do not believe in the power of womanhood that is exemplified in Greek mythology.
In the novel, “Praise Song for the Widow” by Paule Marshall, the audience is introduced to the main character 64 years old Avey Johnson, an African American widow, who sets out to learn about her heritage. The author makes use of flashbacks in order to show Johnson's ordeal. In her journey, Johnson travels to the Caribbean with two of her friends but along the way, she faces difficult owing to her sickness. Once they reach Granada Johnson struggles emotionally and physically. Her struggles are linked to social illness of racism and poverty, which she had faced in the past.
While reading the epic, the roles of women seen are the adulteress, who lures characters away from good; the wife, who keeps things in order and represents proper behavior; and the goddess, who supports the plotline and characters. Though the roles of women are not significantly noted by the author within the epic tale, it is important to identify the roles of females in such ancient times. As they were not valued as individuals, but rather as prizes, women lacked recognition. This is a continuity into the modern era, which can begin to be rectified by the identification of female power in places one would not normally look, such as a tale where the protagonist is male. Perhaps women are dishonored in literature, but that doesn’t mean the female race must be dishonored in the
From a Vindication of the Rights of Woman, was written during the eighteenth century by the famine philosopher Mary Wollstonecraft (1759-1797). From a Vindication of the Rights of Woman expresses Wollstonecraft’s true views on how woman should be treated and should act in their relationships with men, and in society. Wollstonecraft dealt with several personal events that may have opened her eyes to the way women should be truly being treated in society. As a young girl Wollstonecraft dealt with her mother being abused by her father, she would sleep on the outside the door of her parents rooms to protect her mother if needed. Wollstonecraft also dealt with her two sisters also being in abusive relationships at an older age.
In "The Chrysanthemums," this battle for fairness is depicted through Steinbeck 's character Elisa Allen. As per Stanley Renner, "The Chrysanthemums" indicates "a solid, able lady kept from individual, social, and sexual satisfaction by the overall origination of a lady 's part in a world ruled by men" (306). Elisa 's appearance, activities, and discourse portray the dissatisfaction ladies felt in Steinbeck 's manly universe of the 1930 's. "Steinbeck 's reality," watches Charles A. Sweet, Jr., "is a man 's reality, a world that disappoints even small-time ladies ' liberationists" (214). This disappointment is clear when Elisa is first presented.
In “Female Deification: The Epic of Gilgamesh” I formulate an argument against a feminist critique of the epic using an in-depth analysis of the female characters and their positions within the text itself. Although it seems female characters play a passive role in the epic, in reality they are mentioned within the text actively as either goddesses, immortal, or as godlike. How male characters interact with them and how they interact with one another shows the surprising power behind the women's behavior, especially in comparison with their male counterparts. I labeled this process of character development as “female deification” to express how these seemingly insignificant characters become godlike in their placement and expression in the
In the epic poem, The Odyssey, by Homer, there are many female characters who play the role of a villain. Calypso, Scylla, Charybdis, and the sirens are among the women with the largest, negative impacts on Odysseus’ journey home. Though some women, such as Athena, Eurycleia, and Penelope, are loyal to Odysseus throughout the poem. With such a wide range of female characters, they all contribute different things throughout the book, whether the impact of their actions is negative or positive. Regardless of the outcomes, Homer has quite a modern view of female representation in his poem.
The women in this epic are shown as either one extreme or the other with no in between. Either obedient virgins who run from the gods in the fear of getting raped, or vengeful and malicious women who are in the hunt for revenge. A prominent theme in metamorphoses is that these women in fact do not have an in-between state, just one extreme or the other. Ovid also uses this as a great contrast between different female characters in each of his books. This can be seen in the contrast between Io, the water nymph who is taken and raped by Jove against her will, and Juno the vengeful goddess who takes her revenge on Io.
Throughout the book there are many themes that occur. One being appreciate who you are. Bone struggles with accepting the way that she looks. She feels that she’s no good and nobody cares about her. She’s constantly looking at her mother and aunt for approval.