Both William Shakespeare with his play King Lear, and Jane Smiley with her modern adaption A Thousand Acres, create their own respective versions of a strong- willed woman who tries to survive the situations she is faced with in her life. Shakespeare created the malicious and scheming character of Goneril who was raised with power and status, while Smiley created the subdued and obliging character of Ginny who was raised to be a respectable woman with strict morals. Despite being placed in similar situations regarding their father 's actions against them, relationship with their sisters, and marriages, Goneril and Ginny reacted with contrasting mannerisms and attitudes towards their situations because of their different background and morals
129 The depiction of women is done in two different forms. The first classification defines the more pragmatic, clear-sighted and proficient personality, which is epitomized by the Midge. To portray the intelligence and the upper hand she possessed even on the male protagonist Scottie, director Hitchcock makes use of cut-ins, close-ups and camera movement, for the scenes with Midge. Her advice is considered to be maternalistic and comforting, thus representing her maturity and the importance of her “female gaze”. In the very introductory scene, even Scottie refers to Midge as “being motherly”.
This is the mindset that permeates both Oscar Wilde’s The Importance of Being Earnest and Henrik Ibsen’s Hedda Gabler. Both plays, having been written at the end of the 19th century, offer insight into how this societal pressure creates an environment in which women face a particularly large amount of pressure to find wealthy, suitable husbands rather than ones they truly love. This issue of marriage being classified as business is best summed up in The Importance of Being Earnest when Algy, after having learned Jack intends to propose to Gwendolyn, remarks, “I thought you had come up for pleasure…? I call that business” (Wilde
A Role Model that Transcends Time Hester Prynne changed dramatically throughout the course of Nathaniel Hawthorne’s, The Scarlet Letter. Initially she was viewed as the antagonist and was a destructive character to those around her. After being confined in her cottage with Pearl, she began to develop a sense of who she needed to become in order to efficiently raise Pearl. Hester’s ability to do what was necessary for her improvement made her into a respectable role model for women to shadow. Hester chose to isolate she and Pearl to create a wave of self-improvement.
Edith Wharton stated once that at some stage in a story there will be that turning point or “illuminating incident” that would be a window that opens to convey the whole message and show the deeper meaning of the work. Basing this on Pride and Prejudice, the most significant, shifting point would be when Elizabeth realizes that her first impression has done her wrong, and that she’s the one being prejudicial, not Mr. Darcy. Jane Austen follows the development of Elizabeth’s and Darcy’s relationship in how they both change in order to overcome their own vanities and be able to love each other. Elizabeth’s visit to Pemberley, accompanied by her aunt and uncle, causes her to reconsider her thoughts about Mr. Darcy and shows how naïve and inconsiderate she was. After knowing the truth, Elizabeth’s reaction help build up the main themes of Pride and Prejudice which is to learn before making any judgments.
In a literary article,The Role of Women in Othello: A Feminist Reading states that,” Society weighs heavily on the shoulders of women; they feel that they must support the men and defer to them, even if the actions of the men are questionable” (Literary Articles). Although Emilia does not ever say these powerful words out loud, she is still willing to not follow her husbands commands despite his strong character. Emilia proves again that she has powerful thoughts when she stated that,”Let husbands know, Their wives have sense like them; they see and smell, And have their palates both for sweet and sour As husbands have’ (Othello IV.3.92-5) Emilia contends that women are physically the same to men,they both get distraught and have issues that trouble each other, they should treat each other similarly. Women can still analyze literature about the inequality and rights for women through many of the injustices that are modern today.
The women all want to fight for their rights to have the same rights as men. Feminism in A Thousand splendid suns - While reading the novel I could see at the beginning of the novel that this novel can be examined with a feminist lens. The first thing that I saw in the novel is that the main character of the novel is played by a young girl (Mariam) as well as a girl who is growing up in a less fortunate condition. While reading the novel it was obvious that in “A Thousand Splendid Suns” men have authority over women, domesticity, which states that women belong at home, and the representation of elderly women as bitter, and
In the midst of this fear, this panic, in the eye of the storm, lies the character of Abigail Williams. As we witness the play unfold, we are able to see Abigail’s true character, and though she tries to conceal her true personality, the reader is able to identify it through her actions and most interestingly her beliefs. Abigail Williams varies far from traditional Puritan society. Instead of abiding by the general rules of Puritans, Abigail decides that she is above the laws. This fact becomes evident when she pursues, then successfully seduces John Proctor, and when she
For instance, in the beginning of the novel, the reader finds that the competent Cimorene is excellent in her different talents, and even the people of the kingdom respect her strong will. For example, the writer states, “...they said she was strong minded.” (2) . This proves that Cimorene has the talent and personality to rule over a kingdom. It also shares that Cimorene, with her love for women’s equality, could use her strong influence to gain respect for each gender. Another quote that embodies this fact is when she tricks Therandil into believing that she is hurt.
The denouement of the play is received differently by both the readers. In act 3, when Nora intrepidly questions Helmer 's perception of her "most sacred duty" towards her "husband and children", she questions the Victorian era reader 's ideals and beliefs as well which leaves the reader infuriated. Moreover, Nora is thought of as unhinged when she "slams" the door, in hopes of transforming from Helmer 's "little songbird" into a "woman." This is not the case with the modern reader who is relieved by Nora 's epiphany as she begins "to realize everything", including the need to become "independent." The modern reader, on the time spectrum, has had the chance to discuss the sexism that prevails in society and the need for feminism; Nora 's courage in going against the pillars of the Victorian era is something the modern reader finds commendable and aspiring.
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,
For example, I use the terms, “matriarch,” “beseech,” “cost,” and “lost” because they instantly transform the wife’s stock character into a dominating female. This kind of rhetoric also affects the social relationship between the wife and the pilgrims because she now has characters, like the Pardoner, who are eager to hear her story. It is crucial to keep in mind that I did not give the wife a new socio-economic title, but one that complements her experience as a matriarch. I also use the word, “cost,” because it implies that she now holds the authority, as the Pardoner implies, to face social restrictions. The word, “lost,” has multiple meanings here: it is an echo to all the women who lost their lives for speaking out against social norms because they did not have the same power as the wife; the word also refers to the time when the wife lost her place in her own tale: “But now, sire, lat me se what I shal seyn” (585).
In Act 3 Scene 1, Beatrice is overwhelmed with the thought of people judging her proud and scornful ways. Beatrice addresses this revolution by agreeing to leave her past self behind and seal this newfound affection with Benedick. Beatrice’s view of rejecting a man who will rule her with an iron fist is quite independent. In this case, Shakespeare’s Much Ado About Nothing suggests Beatrice was once in love with Benedick, but his title of lord and soldier of Padua negatively effected their relationship. In addition, Beatrice’s previous relationship with Benedick, as suggested by the play, developed this harsh semblance.