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
The essay I chose to compare Dracula with was “Kiss Me With Those Red Lips: Gender and Inversion in Bram Stoker’s Dracula” by Christopher Craft. The essay explains the sexuality in Dracula, desire, gender, and even homosexuality. Craft mentions his essay gives an account of Stoker’s “vampire metaphor” (Craft 108). He highlights certain and very valid points in the story of Dracula that breaks the Victorian gender role, writing, “a pivotal anxiety of late Victorian culture.” (Craft 108). Craft examines the usual roles of the Victorian men and women, passive women especially, requiring them to “suffer and be still”. The men of this time were higher up on the important ladder of that era. Craft believes the men are the “doers” or active ones in
“It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife.” (Austen) Pride and Prejudice (Jane Austen)
“Every action has equal and opposite reactions. This is law of the universe and spares none. Wrong done and injustice inflicted is paid back in the same coin. No one has escaped justice of the universe. It is only a matter of time” (Anil Sinha). Karma is a force that shouldn’t be tested; no matter who it is or where they are, it will always be there when fate is ready. Even if these people try to conceal their true emotions, they will pay the price. Normally, the price will be as extreme as the action that has been done; maybe even death. Likewise, within Shirley Jackson’s “The Lottery,” Tessie acts as an admirable, hard-working mom; however, her sincere character is later exposed as a fearful, hypocritical, unheroic woman which reveals her
In Victorian society, women had the choice between two roles: the pure woman or the fallen woman. Bram Stoker plays with these anxieties revolving around female sexuality – he follows the gothic tradition of innocent damsel in distress against looming evil. The narrative structure Stoker imploys to the text through intertextuality reveals multiple point of view distinguishing a duality in Lucy - her true self and 'thing'. In order to cope with Lucy’s worsening condition, the male authoritative figures of the text assign a duality present in Lucy to make sense of her shifting from “pure woman” to “fallen woman”. Stoker exhibits in the structure of the multi-faceted narrative how certain characters are unable to cope with the duality present
Wilde’s representation of the British upper class, its values and opinions, is presented most notably through Lady Augusta Bracknell. She is a dignified aristocratic residing fashionable London society circles. On the surface, she is very typical Victorian woman. As a mother to Gwendolen Fairfax, she has a great authority over her controlling her life. She has even a list of ”eligible young man” whom she is ready to interview in order to select a suitable partner for her daughter. In addition to this, the importance of marriage and its delicacy in the Victorian era is expressed through
The closed form and anapestic lines within “The Ruined Maid” follow the guidelines of their forms closely, creating a feeling of submission to rules. Hardy uses a rhyme scheme of AABB, from which he never falters. This relates to how one might behave if they follow all of the society 's ideals; never veering from the given standards. However, due to the satirical nature of this poem, one can see that Hardy does not fully agree with the restrictions that have been placed on women by society during the Victorian era. The belief of society was that women who had sex out of wedlock were ruined; although, the poem demonstrates how deviating from the values of a society can present options that would not have been available otherwise. This is evident within the tone and title of the poem.
Examine how either text represents either class or gender. Are these representations problematic or contradictory? How do they relate to the plot and structure of the novel?
The end of the eighteenth - beginning of the nineteenth century England was characterized by the downfall of the revolutionary “Jacobin” movement which advocated for freedom and equality, and symbolizes a return to, as well as an empowerment of the conservative British patriarchal system. This was the context in which Amelia Anderson Opie wrote “her most political novel”(King and Pierce, viii) Adeline Mowbray, a tale which provides a case study about, as Roxane Eberle notes, “progressive ideas that heterosexual relationships can and should exist outside of marriage”(1994: 127). As a result the clash between these innovational type of relationships and the English legal and social norms collide in their representation of models of proper conduct
Brooks opens her argument with a brief narrative, describing her excitement to read from certain authors that year. Her carefully placed self-description using pathos pulls the attention of book lovers closer as she relates her interests to theirs. With the hook thrown for the people she needs support from, Brooks continues to form her point with references to well known books such as Genesis and Pride and Prejudice. Many readers of this essay wouldn’t be hard-pressed to know the basic ideas of those books, allowing Brooks to tie in a literary example to her preset logic.
Should tradition be altered once in awhile? It wouldn’t hurt just to make a couple of changes just to be “safe”. In the story, “The Lottery” by Shirley Jackson, there are a small town of people who celebrate a special tradition. It occurs annually in the morning of June 27th located at the town square. The people in the town seem friendly but there is a dark secret that they all do during the lottery. The winner of the lottery is very unfortunate which is quite ironic, and is chosen to be sacrificed for the great of crops. There are important characters within the story but, there were two character whom stuck out the story the most. These two characters were Mr. Summers and Tessie Huntchinson.
Some people believe that gender roles are necessary in order to maintain function within a society. On the other hand however, there are also people who do not agree with those gender roles, and therefore try to challenge them, sometimes utilizing their literary talents to convey their ideas to readers. Three of these such forward-thinking authors are Andrea Potos, Henrik Ibsen, and Thomas Hardy. These three writers used three different literary medium to reveal their own opinions on the traditional gender roles that were considered right and acceptable in the places they lived.
In society of the Regency period, every aspect of one’s life was greatly analyzed and examined. Any deviation from the set norm was considered uncivilized. In a time period where reputation was the most memorable part of a family's life, being considered uncivilized would entirely ruin their standing. Some may say that all of the characters were simply fighting to be a normal part of society; Mr. and Mrs. Bennet’s desires ended up with disagreeable results, each of the daughters deviated from society’s expectations, and Elizabeth did not allow any social norms to stand in her way of marriage for love. These examples exhibit the characters’ struggle to not be average and compliant members of society.
These flavours of irony are enhanced through characters’ names. “Alec D’Urberville” is a counterfeit D’Urberville whereas “Tess Durbeyfield” is a rightful “D’Urberville”, evoking male perfidy and nobility of the “fallen woman”. Similarly, through the play title “Hedda Gabler”, Ibsen’s refusal to subsume Hedda’s personality into her marital title “Tesman” foregrounds her unorthodox personality, portraying the encumbering marriage facing every Victorian women, in which the limitation of the feminine role is embedded in the very nomenclature of society.
Feeling himself as a 'misfit ', Hardy was always in a disagreement with editors and critics, thus he had to edit his texts to conform the Victorian Society. In this way, he identified himself with the suppressed classes. Rosemarie Morgan thinks that continuous censure, criticism and frustration is precisely what increased his sympathy towards women who were coerced to conform to the men 's world (Morgan, 2006, p.15).