Title In the novel Rebecca by Daphne Du Maurier tells the uncommon, suspenseful love story using a small range of characters with many different personality traits. The reader begins to feel as though they truly know these characters only to discover the unseen truth as their masks fall off. As these personalities develop throughout the novel one can discover that the narrator, Mrs. de Winter, strives to please people and feels very insecure in her identity. She tries to stick up for herself, but her words have no effect on her cruel, manipulative, controlling husband, Mr. de Winter. Mr. de Winter appears as a gentleman in the very early chapters of the book; however, the reader soon discovers that Mr. de Winter seems not to care about other people’s feelings, and that he contains controlling characteristics. Besides being controlling, he also verbally abuses his wife. In simple and plain terms, Mr. de Winter is a jerk. Later in the book, another malevolent and controlling character becomes introduced, Mrs. Danvers. Mr. de Winter’s controlling, abusive ways and Mrs. Danvers malevolent tendencies collide together as the new Mrs. de Winter strives to please them. In the very beginning of the novel, the narrator and Mr. de Winter meet each other. The narrator becomes swept off her feet with Mr. de Winter’s charm and charisma; however, his charming ways wear off almost immediately. Even before the couple becomes engaged, the narrator refuses to see the warning signs during their courtship that Mr. de Winter is not the man that he appears to be. On one ride back to the hotel in Monte Carlo, Mr. de Winter berates the narrator and tells her to “stop biting [her] nails, they are ugly enough already,” (Du Maurier 38). One might overlo... ... middle of paper ... ...ever, never” (304). Even though Mr. de Winter verbally abuses his wife and tried to control her, she still faithfully stays by his side, just like his dog, Jasper. Mrs. de Winter strives to please people and wants people to like her. She has absolutely no confidence in herself. In fact, her confidence level is so low that when Mr. de Winter asks her to marry him she replies by telling him that she is “not the sort of person that men marry” (52). Once she marries Mr. de Winter, she is always on a quest to please him and becomes almost obsessed with it. When Mr. de Winter becomes mad at her, she pleads with him by telling him “I don’t want you to look like that. It hurts too much. Please, Maxim. Let’s forget all we said. A futile silly argument. I’m sorry, darling. I’m sorry. Please let everything be all right (118). Works Cited Du Maurier, Daphne. Rebecca.
The starting of the story kept me in suspense: the starting sentence, “No one can accuse Philippa and me of having married in haste” (Fox 1). This clearly brought up the theme of love and marriage. The selection of words by the narrator told that the speaker did not regret his marriage. The defensive tone of the narrator made me to think that perhaps people had criticized his marriage.
Nora and Mrs. Wright’s social standing when compared to the men in each play is inferior. Both works expose their respective male characters’ sexist view of women diminishing the women’s social standing. Each work features egotistical men who have a severely inflated view of their self-worth when compared to their female counterparts. The men’s actions and words indicate they believe women are not capable of thinking intelligently. This is demonstrated in “Trifles” when Mr. Hale makes the statement about women only worrying about mere trifles. It is also apparent in “A Dollhouse” when Torvalds thinks his wife is not capable of thinking with any complexity (Mazur 17). Another common attribute is of the women’s social standing is displayed as both women finally get tired of feeling like second class citizens and stand up to the repressive people in the women’s lives (Mulry 294). Although both women share much in common in their social standing there subtle differences. Torvald’s sexist view of Nora is more on a personal level in “A Dollhouse” while the male characters’ sexist views in “Trifles” seem to be more of a social view that women are not very smart and their opinions are of little value. This attitude is apparent in “Trifles” as Mr. Hale and Mr. Henderson’s comments about Mrs. Wright’s housekeeping (Mulry 293). As the women in both works reach their emotional
Also, the rhetoric Chopin uses is full of contradictions from the beginning. not only that, but there are so many contradictions of manner, style, Point of view, and all of these both internal and external of each of the characters. For example, Leonce “Pontellier wore eye-glasses. He was a man of forty, of medium height and rather slender build; he stooped a little. His hair was brown and straight, parted on one side. His beard was neatly and closely trimmed,” whereas his sons are described “sturdy little fellows of four and five.” This suggests that he is rather delicate, and that his wife, after whom they presumably take (ils tiennent de leur mere) is sturdy and strong, and can and will take him at something. Another significant one comes in chapter xxix where her interior monologue talks of her “understanding [as]...that monster made up of beauty and brutality.”
Louise Mallard is a woman who enjoys freedom and independence. She feels soaring relief and fiery triumph upon realizing that, yes, she is finally free. She is free of the weighted ropes of marriage. She fantasizes of her days ahead, living for herself and only herself. “A kind intention or cruel intention made the act seem no less a crime as she looked upon it in that brief moment of illumination” (Chopin 234). She views the imposing of one’s will on another person as a crime, no matter the intention behind it. She has a taste of freedom after Mr. Mallard’s death and can finally see days without stress ahead of her. Prior to her husband’s death, young Mrs. Mallard feels tied down and even oppressed. “She was young, with a fair, calm face, whose lines bespoke repression and even a certain strength” (Chopin 233). Despite the typical oppression of women throughout the centuries prior to the 1920s, Mrs. Mallard possesses a free spirit.
The struggle the other characters face in telling Mrs. Mallard of the news of her husband's death is an important demonstration of their initial perception of her strength. Through careful use of diction, Mrs. Mallard is portrayed as dependent. In mentioning her "heart trouble" (12) Chopin suggests that Mrs. Mallard is fragile. Consequently, Josephine's character supports this misconception as she speaks of the accident in broken sentences, and Richards provides little in the way of benefiting the situation. In using excess caution in approaching the elderly woman, Mrs. Mallard is given little opportunity to exhibit her strength. Clearly the caution taken towards Mrs. Mallard is significant in that it shows the reader the perception others have of her. The initial description the author provides readers with creates a picture that Mrs. Mallard is on the brink of death.
de Winter finds her identity and confidence when thrown into the unfamiliar world of Manderley. Recalling the chilling events that occurred at Manderley, the young Mrs. de Winter remembers how she “lost [her] diffidence, [her] timidity, [her] shyness” created by her “intense desire to please” (9). Before Manderley, the narrator lacked confidence and did not truly know herself until faced with a life-changing secret. Threatened by the memory of Rebecca and starting a new life, the narrator lived “tortured by doubt and indecision” at Manderley, but slowly “[her] shyness fell away” as she learned to confront the fears she faced (24, 98). Without an identity, the young narrator felt overwhelmed and frightened until she slowly gained confidence to defend herself as the new Mrs. de Winter. Upon discovering the shocking truth about Rebecca’s death, the narrator must over come “[her] old fears, [her] diffidence, [her] shyness” and “[her] hopeless sense of inferiority” or there “[would] never be another chance” to find herself and live her own life (264). No longer threatened by the memory of Rebecca, the young narrator receives a new found confidence to live as she wishes with Maxim as his wife. Arriving timid and codependent to Manderley, the narrator gains confidence and identity as she faces a new life haunted by
Contrastingly, Mrs. Darling, his wife, is portrayed as a romantic, maternal character. She is a “lovely lady”, who had many suitors yet was “won” by Mr. Darling, who got to her first. However, she is a multifaceted character because her mind is described “like the tiny boxes, one within the other, that come from the puzzling East”, suggesting that she is, to some extent, an enigma to the other characters, especially Mr. Darling. As well as this, she exemplifies the characteristics of a “perfect mother”. She puts everything in order, including her children’s minds, which is a metaphor for the morals and ethics that she instils in them. Although ...
de Winter's insecurity lies at the heart of the novel. It is vital the narrator should have a shy, introspective nature, other wise she would not be intimidated and awed by this dead Rebecca"( Towend 3). If the narrator had put her foot down a few time with simple thing like asking for to break the schedule and light the fire place in a room when she feels cold, or arrange the flower in the morning room the way she wants to instead of following tradition and being overly worried of pleasing everyone else but herself then she would truly fell like her own person. Something she hadn't realized until after Maxim had revealed Rebecca had no place in his heart, but he loved the Narrator. Those words gave her confidence and maturity. Even though she was staid humble, kind, and sincere, she gained the strength of confidence and finally broke Rebecca's chain. She began making changes in the menu to her liking and stud her ground against Ms. Danvers. "I was not changed. But something new had come upon me that had not been before. My heart, for all its anxiety and doubt, was light and free. I knew then that I was no longer afraid of Rebecca...She could not hurt me."(Maurier 284-285). However sometimes our dreams and responsibilities come with a high
A male was thought to have the “hot” humors of blood and choler that adds to their wit and intelligence compared to a woman who has the “cold” humors of black bile and phlegm which limits their wit and intelligence. This conclusion is based off of medicine and psychology of that time which reflects the tone of how women were looked at. The views were that women were “ inferior spiritually, physically, and intellectually to men” as well as they were dishonest, lustful, and unstable but, in the daily lives of women reflected a completely different light. When Rosalind disguises herself as Ganymede and fools Orlando, her sweetheart, into treating her as if she was Rosalind. This can be seen as a dishonest act of Rosalind by taking advantage of Orlando and his love, but on the other hand Rosalind is using her wit to test Orlando on the amount of love he has for her. Rosalind dressed as Ganymede after repeatedly asks him the question of whether he loves Rosalind as much as he says he does and when she asks him the final time she says to Orlando “ But are you so much in love as your rhymes speak?” and Orlando says “Neither rhyme
The couples share a certain amount of love for each other but the disconnection was stronger. The protagonist’s disconnection is evident because her husband treats her like a little girl instead of a wife when he takes her “ …in her arms and called [her] a blessed little goose” (p121). The Mallard’s disconnection is also evident because her husband’s “face that had never looked save with love upon her, fixed and gray and dead” (p 15). This is not the emotion a wife wants to feel from her husband.
The author clearly reveals the imbalance in power within the Helmer’s marriage. When Torvald addresses his wife, he continuously reinforces his dominance by calling her belittling pet names such as, “my little lark… my squirrel” (Ibsen 1190-1191). Only when Nora is being criticized does her husband address her by her name. Torvald condemns her for being wasteful with money, and connects it with the fact that she is a woman. Nora endures constant ridicule for her “feminine” acts of squandering money, “Nora, how like a woman… you little prodigal” (Ibsen 1191-1192). Throughout the play, Ibsen reiterates “little” to expose Torvalds’s repetitive disparaging of Nora’s character. But not only does Nora continue to allow the condescending treatment, she responds by acting helpless and in need of proper guidance. When discussing the responsibilities of women in the Victorian era, Hsin Ying Chi, English instructor at Troy State University, points out, “Her first duty is to be a submissive wife who loves and obeys her husband” (par. 27). In A Doll’s House, Nora represents the “traditional” subordinate house wife who solely exists to please her husband. She is shown to be oblivious to any outside issues, and it is apparent to the reader that Nora is completely dependent upon Torvald. Therefore, as a Victorian women, Nora must blindly follow her husband’s
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
Neil Gaiman’s “Snow, Glass, Apples” is far from the modern day fairy tale. It is a dark and twisted version of the classic tale, Snow White. His retelling is intriguing and unexpected, coming from the point of view of the stepmother rather than Snow White. By doing this, Gaiman changes the entire meaning of the story by switching perspectives and motivations of the characters. This sinister tale has more purpose than to frighten its readers, but to convey a deeper, hidden message. His message in “Snow, Glass, Apples” is that villains may not always be villains, but rather victims.
Through the use of a concise plot, symbolism, descriptive setting, point of view, and dramatic irony, readers are left with a strong feeling of empathy for the protagonist, Mrs. Mallard. Through each paragraph of the story, readers continue to feel empathetic for the woman who grieves the loss of her husband, gains a new feeling of freedom outside of the restrictions of marriage, then loses that freedom when she discovers that her husband is not dead, all within an hour’s time. While women’s independence and freedom within marriage could still be a topic reflected in today’s literature, it would be a much different story than that of Chopin’s time. At the time this story was written, women were expected to do whatever it took to please and cater to their husbands. This story seems to draw from the changes of that time as women were beginning to gain more independence in their lives as in the suffrage movement, marriage, and employment outside the home. Much has changed in women’s rights since the end of the nineteenth century, which is a result of the work of women like Kate
Woolf presents three characters who embody three different gender roles. Mrs. Ramsay is the dutiful wife and mother. Mr. Ramsay is the domineering patriarch. Lily Briscoe is an independent, aspiring woman. Woolf sets these three roles in contrast with each other. She allows the reader to see the power and influence each character has. Mrs. Ramsay’s submissive and supportive nature arouses admiration. Mr. Ramsay’s condescending manner provokes animosity. Lily Briscoe’s independence enables her to find meaning and fulfillment in her life.