Williams’ major female character in A Streetcar Named Desire is Blanche. Blanche is an aging Southern beautiful woman who lives in a state of permanent panic about her fading beauty. Blanche is fatally divided, swinging between the desire to be a young, beautiful lady who concerned with old-fashioned southern ways and a bohemian erring excessive in her appetites. In New Orleans, Blanche hides her real age and vicious past as she tries to attract an appropriate husband to clean up her life (Abbotson50).The loss of security has sent Blanche on a desperate search for protection: “I’ve run for protection Stella, from under one leaky roof to another leaky roof –because it was storm –all storm, and i was caught in the center” (v.114). She believes that marriage is the only way to escape loneliness and the bad reputation that haunts her.
Here we can include the well-known work “One thousand and one nights” which also reveals the supposed defects of women (for instance the criticism about the feminine seduction as an instrument of cheat). Nonetheless, we observe again how women in the courtly household had an important role as they maintained noble life and rank differentiation. The manuscript of Eleanor de Poitiers,
The play ensues with Loureen raising her voice to her beloved abusive husband, when she challenges his authority he vanishes. This is where the plots play takes flight as Loureen is left awestruck by his disappearance. She is left confused on the way forward; she does not know how to carry on with life without her husband while feelings of despair and resentment reside within her. She questions whether she is murderer or victim and is left puzzled while trying to piece together the fragments of her life now that she is rid of the monster and freed from his gripping claws. We see the typical symptoms of battered woman syndrome, being displayed by Loureen, as she goes back and forth between memories of her husband and trying to figure her way
Are coming from, Welter’s, “The Cult of True Womanhood.” If these cardinal virtues were not withheld the woman would be looked down upon by society and shunned for her actions. Chopin makes her argument to show that even with these specific guidelines set on them, they have the choice to be an individual within a society that judges women solely on a system of virtues. Chopin uses symbolism very vividly throughout the entire story, she does this by using a storm to symbolize the affair that is happening at the same time. This statement was far too bold for the time she wrote it in 1989, she held off to publish this story till 1969 because her ideas were far too complex for society during her time. Her depiction of the affair was almost idealistic and it was as
Jane and the creeping woman in The Yellow Wallpaper and Louis in The Story of an Hour are similar as they are both kept from the public sphere. For instance, the narrator and “a great many” along with her are trapped behind a yellow wallpaper, a metaphor for a barrier between the private and public sphere. Jane makes constant references to the wallpaper and its irritable, pattern that is confusing to the eye. Furthermore, the author’s use of diction implies that the narrator is frightened by the movement she sees within the pattern: “But, on the other hand, they connect diagonally, and the sprawling outlines run off in great slating waves of optic horror, like a lot of wallowing seaweeds in full chase.” This shows that the narrator’s description of the wallpaper’s pattern supports the idea of the wallpaper being a threat, which aligns with the pattern of being a woman threatened away from the
She is physically coated in the laborious, middle class life she lives. Alongside this is the fact that Daisy leaves and crushes Gatsby’s hope. He did everything in his power to make her stay, but even the riches he wished to impress her with weren 't enough. She let Gatsby believe that she might leave Tom for him. Gatsby waits for
“A slave is one who waits for someone to come and free him.” ― Ezra Pound A maiden with a heart filled with hope for love, shaped and twisted into a egotistical persona of her own waking. She is doomed to tragic prospects, created by her own raging expectations of romance. The maiden is Emma Bovary, whose mind is as similar of a slave to fantasy as she is to her feminine milieu. Her ideals not only harming her own mind, but also negatively affect those around her. Emma Bovary is a victim of provincialism, an occurrence where ones exposure to fiction, or otherwise, corrupts their views on life, leaving them ignorant.
The abilities of Judith are deemphasized and underestimated. She is a writer, but she is ashamed of it and hence secretive. Judith gets engaged at a very young age when she begs not to have to get married to a wool stapler who, according to the book, smells like sheep, her father beats her. She has so much energy and talent and cannot bear to get tied down to a husband and a passel of children. The portrait of Judith Shakespeare takes the reader beyond the facts, touching the anguish and tragedy that would have been at the core of the experiences of an intelligent woman.
The imagery of the ‘sour air’ encompassing her represents a miasma of rejection from society, who pressure her to conform to a single way of life. Whilst some say that looking through a Bell Jar gives her a distorted perception of society and the pressure she receives is a fiction of her own imagination, one must look only at her relationship with her mother to realize she is victimized by her harsh society. In specific it reminds us of the toxic environment set up by her mother who tells her "I knew you'd decide to be all right again". It’s shocking to the reader who is able to sympathize with Esther’s clear internal struggles, yet her own mother sees it only as a nuisance. The extended metaphor within this novel and the fragmentary structure we so often see in Plath’s work presents the depth of mental disorder but more importantly brings a harsh light to the society that never understood or even tried
Austen's characters show the boredom that results from this nothingness. Her heroines are making a “cult or passivity, fainting and languishing dramatically on sofas, defining their virtues and beauty in terms of their physical weakness and their susceptibility to overwhelming passions”8. Austen shows in parodically way how feminine finds definition in society. Her sartire “love and freindhip” shows girls, which are only capalbe of loving a man and are so focused on “catching” the man, that they are incapable of authentic feelings. In her Juvenilia she described with over the top scenearios the boredome of women so bored that they throw themselves into adventures.