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love affairs in the victorian era
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The period is the early 19th century; those involved and discussed in this essay are for the most part Russian gentry. Increasingly relaxed social mores in the “developed” world, including the greater freedom to choose to whom one gets married to as well as increased women’s sexual rights, were much more uncommon during the time that War and Peace takes place. Tolstoy, an outspoken critic of arranged marriages, uses the characters in his novel as a way of exploring the various types of love, and in general the interactions between men and women of the time. This essay will attempt to focus on these relationships in an effort to get a better idea of Tolstoy’s views on the proper roles that men and women should play as friends, lovers, or spouses. By exploring the male/female relationships among the noble families, a detailed picture of both the expectations and realms of acceptable behavior will be established.
Pierre Bezhukov, the illegitimate son and eventual heir to his father’s massive fortune, is not well-suited for the high society of Russia. Intelligent and honest, Pierre is one of the few characters in the upper echelons of society that is genuine. As a major character, Pierre experiences one of the most marked character developments in the novel. Although his kind and decent nature remains relatively unchanged throughout the story, Pierre is occasionally induced into a rage, one of which is actually directed against his first wife, Helene.
The relationship shared by Pierre and Helene is best described as a lustful charade. It is no coincidence that Pierre, one of the most introspective characters in the novel, first marries a shallow, inwardly-ugly adulterer. His first recorded attitude towards Helene is one of admira...
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...es confused when he realizes that he has feelings for Princess Marya, and rather than being conflicted on who to choose, he merely wonders how he will explain to Sonya the situation without overly hurting her. This is an example of a more powerful love, one that his ‘soul mate’ Marya inspires in him. Nikolai is almost easily able to cast off his lifelong ‘love’ for his cousin in favor of this strange and “frightening” woman, with whom his future is unimaginable simply because he does not know her character or quirks, but her soul. When the two meet for the first time in proper circumstances, each knows exactly what to say, and Nikolai felt that he didn’t need to say that which he had prepared, but what “instantly and always appropriately came to his mind.” It is with this comfort with Marya that Nikolai is able to successfully run his estate later on in the novel.
Perhaps the most evident display of transformation comes in the form of Isabelle’s social and moral evolution which is stimulated by her illicit relationship with Stephen in Part 1 of Faulks’ naturalistic novel. Isabelle’s husband, Azaire is a symbol of the “old wealth” in the Belle Époque era; he is a factory owner and enjoys an important social presence within Amiens: “There would have been no doubt that this was a property of a substantial man”...
The factors of arranged marriages are chiefly superficial. The most important factor to consider is the reputation of the family. The marriage needs to be respectable without any scandals attached. The goal seems to be to marry into a more prestigious family than one’s own. People who marry down in class, especially women, often disappoint their parents. Some parents will even disown their children if they do not agree with the child’s choice of a partner. In Mr. Smolinsky’s case, he ridicules his daughters into arranged marriages and even criticizes them after they are married. Even though his daughters’ home situations are terrible because of him, he does not take the blame for his matchmaking but rather turns it around on his children. He brought it upon himself to marry off his children by going to a matchmaker in town. He thought a diamond dealer named Moe Mirsky would be a good choice for a son-in-law. His original intent was for him to marry Fania but his daughter, Mashah who was forever heartbroken, agreed to marry him instead. After she married an...
The short story, “Ivan Fyodorovich Shponka and His Aunt”, explicates the life of a man named Ivan Fyodorovich Shponka. We see him briefly in his young years, followed by his life in the army, and his return to the farm where his strong characterized aunt resides. We can see immediately that this man lives in constant cleanliness and dutiful paranoia; these are some of his desires that he wishes to exhibit to others. We can also see his fears, which reside in the confiscation of his masculinity and independence. This short story has many elements that resemble others in the Nikolai Gogol collection.
It is my intention to compare the book, Dangerous Liaisons by Choderlos de Laclos, to its modern movie version, Cruel Intentions starring Sarah Michelle Gellar. I intend to examine how the original French text was modified in reference to plot, character, morals/values, and themes. I also plan to discuss how these transformations change the meaning of the story and reflect different cultural/historical contexts. There are some major differences between these two works, if only because of when they were written.
In conclusion, that marital traditions have changed greatly over the centuries and due to this, the opinion of what an ‘ideal marriage” consists of has changes as well. When reviewing the document “On Love and Marriage” the author (a Merchant of Paris) believes that marriage should not be an equal partnership, but one that pleases the husband to avoid conflict. Most women today can be very thankful that these ideas were drastically altered from previous centuries, and that tradition was not carried out onto present day society.
But in reality, a male narrator gives a certain sense of understanding to the male audience and society’s understand of the male and females roles and responsibilities in a marriage. Just as men were expected to cut the grass, take out the trash, pay the bills and maintain the household as a whole, women were expected to cook, clean, nurture the children, and be a loving and submissive wife to their husband. The only stipulation required for this exchange of power was to establish a mutual love. In the Victorian age love was all it took for a man to take or alter a woman’s livelihood and
Meursault’s Maman, when introduced to the reader, has already passed away; however, her past relationships that disclose themselves when Meursault attends the funeral directly contrast her son’s emotional receptivity, or lack thereof. During Maman’s funeral, a woman “in the second row...emitted a little choking sob” (8). The keeper subsequently relieves Meursault of his frustration by explaining to him that “she was devoted to [his] mother” and that they were close friends (8). Along with friendship, Maman also embraces romance during her last few days with her relationship with Thomas Perez at the home, where “[he] and [maman] [are] almost inseparable” and “people [would] tease Perez about having a fiance” (10). Maman’s attempt to form de...
Ivan's wife is also self-centered and exhibits great disdain for her husband, who she considers more of a nuisance and hassle than anything else. Ivan's last days are spent in terrible physical agony, as he uncontrollably screams and moans in pain. When Ivan's friends come to pay their respects to his widow, we see in her comments to them that she never reall...
The central characters, setting, and tone of the story help create the central idea of the psychological and internal desires of a woman. Through the view of the central characters it is established that the lawyer’s wife wants more than her average day and is searching for more to life than the daily routine of a house wife. Jean Varin is believed to be the desire she is looking for; however, she is not fulfilled or happy with the outcome of her choices. The setting and the tone reveal the psychological need for the wife to have an adventurous, lavish, and opulent lifestyle that she feels can only be achieved in Paris.
The movement for female right is one of the important social issue and it is ongoing reaction against the traditional male definition of woman. In most civilizations there was very unequal treatment between women and men with the expectation being that women should simply stay in the house and let the men support them. A Doll's House by Henrik Ibsen, and Trifles, by Susan Glaspell, are two well-known plays that give rise to discussions over male-female relationships. In both stories, they illustrate the similar perspectives on how men repress women in their marriages; men consider that women should obey them and their respective on their wives is oppressed showing the problems in two marriages that described in two plays. Therefore, in this essay, I will compare two similar but contrast stories; A Doll's House and Trifles, focusing on how they describe the problems in marriage related to women as victims of suppressed right.
Not attempting to hide, Mrs. Mallard knows that she will weep at her husbands funeral, however she can’t help this sudden feeling of seeing, “beyond [the] bitter moment [of] procession of years to come that would belong to her absolutely” (Chopin, 16). In an unloving marriage of this time, women were trapped in their roles until they were freed by the death of their husbands. Although Mrs. Mallard claims that her husband was kind and loving, she can’t help the sudden spark of joy of her new freedom. This is her view on the release of her oppression from her roles of being a dutiful wife to her husband. Altogether, Mrs. Mallard claims that, “there would be no powerful will bending hers in that blind persistence with which men and women believe they have a right to impose a private will upon a fellow-creature” (Chopin, 16). This is the most important of Mrs. Mallard’s thoughts, as she never officially states a specific way when her husband oppressed her. However, the audience can clearly suggest that this is a hint towards marriage in general that it suffocates both men and women. Marriage is an equal partnership in which compromise and communication become the dominant ideals to make the marriage better. It is suggested that Mrs. Mallard also oppressed her husband just as much as he did to her when she sinks into the armchair and is, “pressed down by a physical exhaustion
Tolstoy's War and Peace Summary War and Peace tells the story of the Rostovs, an upper-class family in Russia, and several people associated with them. It follows the characters through fifteen years during the Napoleonic Wars, from 1805 to 1820. It gives a fictional description of the events in the life of the Rostov family as well as some of the historical events of the time. Analysis Tolstoy is regarded by some as the greatest writer of war (Bayley 16). He includes details on the military scenes of War and Peace.
In both Anton Chekhov’s The Cherry Orchard and Henrik Ibsen’s A Doll’s House the subversion of perception and the insubordination of supposedly inferior characters has massive implications on the overall message of the play. These mechanisms bring to light a multitude of questions about the correctness of social norms and the future of both Russian and Norwegian society. They are powerful reminders of ever-changing society and the nature of human relationships, and they leave the reader at once confused and motivated for change.
In The Stranger, Camus portrays women as unnecessary beings created purely to serve materialistically and satisfy males through the lack of a deep, meaningful, relationship between Meursault and females. Throughout the text, the main character, Meursault, creates closer, more meaningful relationships with other minor characters in the story. However, in his interactions with females in this book, Meursault’s thoughts and actions center on himself and his physical desires, observations, and feelings, rather than devoting his attention to the actual female. Living in Algiers in the 1960s, Meursault originates from a post-modernist time of the decline in emotion. Meursault simply defies the social expectations and societal ‘rules’, as post-modernists viewed the world. Rather than living as one gear in the ‘machine’ of society, Meursault defies this unwritten law in the lackluster relationships between he and other females, as well as his seemingly blissful eye to society itself. In The Stranger, males, not females, truly bring out the side of Meursault that has the capacity for compassion and a general, mutual feeling relationship. For example, Marie and Meursault’s relationship only demonstrate Meursault’s lack of an emotional appetite for her. Also, with the death of Maman, Meursault remains virtually unchanged in his thoughts and desires.
Catherine Deneuve is famed for not only her acting credentials but her beauty too, having once been the flawless face of Chanel. She has appeared in various films that exploit her sexuality and desirability, but one could claim that her characters are never one-dimensional. Hartman’s assertion that Catherine Deneuve’s characters display both passion and inviolability supports a conception of her roles as multifaceted yet sometimes contradictory; Deneuve has certainly shown passion in her films (as the strong businesswoman of Potiche) and her inviolability cannot be denied (as the inaccessible ice maiden of Repulsion who degenerates into an ‘angel-faced schizophrenic murderess’ to protect herself from men’s advances), but does she demonstrate these two qualities simultaneously through any of her characters? This essay will discuss the validity of Hartman’s argument referring to Deneuve’s performance in Luis Buñuel’s Belle de Jour, with some supporting references to other films in which Deneuve starred.