Yet where said danger is directed changes due to context. During the Castle of Otranto the women of the book are constantly under threat at the hands of the malevolent Manfred. The women are constantly targeted and this is seen through Manfred’s desire for Isabella - his late son’s betrothed and his disregard for his wife - Hippolita. Hippolita, especially is characterized as weak, feeble and hysterical. She unswervingly bows to the will of her tyrannical husband “Hippolita needed little persuasions to bend her to his pleasure (pg 89)."
In English literature history Geoffrey Chaucer writes about pilgrims who embark on a journey to Canterbury. While reading the prologue of The Canterbury Tales he describes good and bad characters. Kim Kardashian West resembles the Wife of Bath, one of the bad characters. The Wife of Bath’s colorful prologue gives the reader a dose of what women were not expected to portray in the medieval times. Living by making cloth, having soft and new shoes, possessing the finest woven kerchief’s, and owning a hat as broad as a buckler are a few items she is remembered by.
In contrast to past gender stereotypes, they argue that girls should be strong, independent, and intelligent. Orenstein takes a second wave feminism approach, meaning females are just as capable as males. She references how she commonly writes about feminism and warning parents of a “preoccupation of body and beauty” in order to pull for a change in society (327). The beauty standards give women an impossible set of goals deterring their confidence. In addition to unrealistic standards, Orenstein is alarmed by the growing popularity of princesses because she views them as “retrograde role models” (329).
Lady Macbeth persuades and manipulates Macbeth by pointing out his insecurities successfully and pressuring him into murdering the king. Along with this, Lady Macbeth also questions Macbeth’s manhood and masculinity when he does not want to carry out the plan when she says “When you durst do it, then you were a man;//And to be more than what you were, you would//Be so much more the man” (Shakespeare 1.7.49-51). By saying these things, Lady Macbeth persuades her husband to believe that murdering the king will be his redemption from being a
In Chaucer’s, “The Wife of Bath’s Tale” we as readers get to experience the story of a Knight’s journey to find the answer to the question: What is it that every woman desires? The Knight is given the task by the queen with permission from her husband. This story is told by the Wife of Bath who is introduced to us in “The General Prologue” by Chaucer. In the prologue we get insight as to who the Wife of Bath is by her experiences as a woman who has been married five times and how she wants authority over her husbands. Throughout the story of “The Wife of Bath’s Tale” we see the recurring theme of power; whether it is women’s power over their husbands, the old woman’s power over the knight, or the handing over of power to man.
This, once more, points towards an attitude that judges women for their sexual output and attractiveness alone. The old woman would be incapable of the two things her sex is desired for; procreation, and the sexual pleasure this would require. She uses the rhetoric of reason to get her young husband to love her, yet her premise rests on her position as someone who has lost beauty and is placed at disadvantage. The old woman begins to ‘selle’ her virtues of faithfulness , and in this she commoditises her identity and establishes once more the hierarchy of husband and wife; and the position of the wife as someone inferior to her
In this essay I am going to examine the significance of female characters in portraying the major themes and other social and political issues as treated in the Romeo and Juliet novel, The Lion and The Jewel, and the novel Olivia Twist. Romeo and Juliet Marriages during the Renaissance era were arranged by the families of the bride, women had no rights in choosing their own husbands (Encyclopaedia, 2002). Lady Capulet and Lord Capulet arranged a marriage for Juliet. In act 1 scene
This quotation illuminates Gertrude’s act of incest which can be classified as an aspect of adultery. Hamlet’s views of marriage are potentially destroyed because of Gertrude’s remarriage and women in general as he states to Ophelia: “Of if thou wilt needs marry, marry a fool; for wise men know well enough what monsters you make of them” (3.1.138-140). Although Gertrude is to blame for Hamlet’s negative outlook on marriage, his misogynistic attitude comes to light as he classifies all women (including Ophelia) as cheaters and liars. Moreover, Hamlet confronts Gertrude for her incestuous and adulterous crimes and speaks: “Nay, but to live / In the rank sweat of an enseamèd bed, / Stewed in corruption, honeying and making love” (3.4.91-94). Hamlet is speaking his dagger-like words to Gertrude which confirms of her adulterous acts and Gertrude responds: “O Hamlet, speak no more.
The original rendition is said to have been told to convey two morals: the first, warned female readers against the dangers of curiosity; the second, warned husbands against expecting the impossible from their wives (Sheets 1991:643). Carter has however adapted the original story to appeal to the modern reader and provide some personal commentary on social issues. She also gave it her own controversial twist, by making the husband a murderer, and what some might refer to as a pervert. As Sheets accurately states, “Carter situates the story in the tradition of aesthetic sadomasochism” (Sheets 1991:643). Throughout the story the heroine notices various erotic art forms in the castle.
The ladies have come before Horner was expecting them, and he now plans to lock his most recent conquest, Margery Pinchwife, inside his chamber. The ladies prevent him from stepping aside to lock the door, however, and soon everyone is drinking, singing, and making confessions. The ladies quickly become bawdy, making double entendres and speaking openly of their frustrations with upper-class husbands, whose sexual preferences tend more to lower-class mistresses than to their wives. Lady Fidget expands upon the fraudulence of honor, indicting both ladies and gentlemen: “Our reputation? Lord!