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Victorian era moral values
Short note on victorianism
Short note on victorianism
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A Room With a View is a novel written by E.M. Forster in 1908. In the novel, the protagonist, Lucy, must choose between her limited but safe Victorian lifestyle and the opportunity of an exciting but scary Edwardian future. This choice is reflected in the attitudes of the two men she considers marrying, Victorian Cecil Vyse or the Edwardian George Emerson. The characters in A Room With a View have extremely contrasting attitudes and behaviors because some are Victorian and others are Edwardian. E.M. Forster wrote many novels with themes about social justice. A central theme in the novel is the lower status of females in Victorian society compared to the women of Edwardian society. The author's interest in equality was fueled by the difficult situations he faced in his life. Edward Morgan Forster was born on January 1, 1879 in London, England (Gardner 398). When Forster was still a baby, his father died, leaving Edward to be raised exclusively by women (Gardner 398). Forster was also a homosexual, which commentators believe, "fueled his anger at social and political injustice" (Summers 5). The problems Lucy faces in A Room With a View mirror those of E.M. Forster. Forster, being raised by the women in his life, saw the difficult choices they had to make. Lucy's biggest decision is whether to live a fulfilling, happy life or follow along with her families values. Forster watched the Victorian women in his life give up their freedom for societal acceptance. For example, Forster's maternal grandmother on whom he based the character of Mrs. Honey church (Gardner 398) Forster also recognized the parallels between the societal treatment of women and its treatment of homosexuals. Forster also enjoyed adding "muddle" ... ... middle of paper ... ... Victorian values. She is supposed to be submissive and delicate, and she does attempt to do what her cousin asks and remain ladylike. Towards the middle of the story Lucy has obviously been thinking a lot about her future and she begins to speak her mind but is usually shut down by Cecil or other Victorian characters. By the end of the novel, Lucy has realized Cecil will never treat her as an equal and she leaves him. A Room With a View shows the dramatic difference between a traditional Victorian character and a modern Edwardian. The overall message of the book is that some people have conventional attitudes and behaviors and others have contemporary attitudes and behaviors but each individual must choose for themselves what will make them happy. Pretending to be a person who you're not to obtain family or societal acceptance will not make you happy.
The scene neatly encapsulates Edna’s rage at being confined in the domestic sphere and foreshadows her increasingly bold attempts, in subsequent chapters of the novel, to break through its boundaries. At first glance, the room appears to be the model of domestic harmony; “large,” “beautiful,” “rich” and “picturesque,” it would appear to be a welcoming, soothing haven for Edna. However, she is drawn past its obvious comforts to the open window, a familiar image in THE AWAKENING. From her vantage point in the second story of the house, Edna (who at this point in the narrative is still contained by the domestic/maternal sphere – she is “in” and “of” the house) gazes out at the wider world beyond.
The room describes the narrator. The room was once a nursery so it reminds her that she has a baby which she is not able to see or hold. The room was also a playroom so it reminds her once again that she cannot play with or watch her baby play. The room has two windows which she looks out of and sees all the beautiful places she cannot go because of her husband. The bars on the windows represent a prison which her husband has put her in to heal from her illness.
The bedroom is an overvalued fetish object that nevertheless threatens to reveal what it covers over. John's time is spent formulating the bedroom in a way that conceals his associations of anxiety and desire with the female body, but also re-introduces them. The bedroom's exterior, its surface, and its outer system of locks, mask a hidden interior that presumably contains a mystery--and a dangerous one. The bedroom in "The Yellow Wallpaper" generates this tension between the desire to know and the fear of knowing: on one hand, the enigma of the bedroom invites curiosity and beckons us towards discovery; on the other hand, its over- determined organization is seated within a firm resolution to build up the bedroom, so that what it hides remains unrealized. Mulvey writes, "Out of this series of turning away, of covering over, not the eyes but understanding, of looking fixidly at any object that holds the gaze, female sexuality is bound to remain a mystery" ("Pandora" 70).
Marilynne Robinson gives voice to a realm of consciousness beyond the bounds of reason in her novel Housekeeping. Possibly concealed by the melancholy but gently methodical tone, boundaries and limits of perception are constantly redefined, rediscovered, and reevaluated. Ruth, as the narrator, leads the reader through the sorrowful events and the mundane details of her childhood and adolescence. She attempts to reconcile her experiences, fragmented and unified, past, present, and future, in order to better understand or substantiate the transient life she leads with her aunt Sylvie. Rather than the wooden structure built by Edmund Foster, the house Ruth eventually comes to inhabit with Sylvie and learn to "keep" is metaphoric. "...it seemed something I had lost might be found in Sylvie's house" (124). The very act of housekeeping invites a radical revision of fundamental concepts like time, memory, and meaning.
Also, the paper will discuss how ignoring oneself and one’s desires is self-destructive, as seen throughout the story as the woman’s condition worsens while she is in isolation, in the room with the yellow wallpaper, and at the same time as her thoughts are being oppressed by her husband and brother. In the story, the narrator is forced to tell her story through a secret correspondence with the reader since her husband forbids her to write and would “meet [her] with heavy opposition” should he find her doing so (390). The woman’s secret correspondence with the reader is yet another example of the limited viewpoint, for no one else is ever around to comment or give their thoughts on what is occurring. The limited perspective the reader sees through her narration plays an essential role in helping the reader understand the theme by showing the woman’s place in the world. At the time the story was written, women were looked down upon as being subservient beings compared to men....
As a result, women were stuck at home, usually alone, until their husbands got home. In the story, Jane is at home staring at the wallpaper in her room. The wallpaper’s color is described by Jane as being “repellent, almost revolting” (3) and the pattern is “torturing” and “like a bad dream” (10). The description of the wallpaper represents Jane’s and all women’s thoughts about the ideologies and rules upheld by men prior to the First World War. It is made evident that this wallpaper represents the screen made up of men’s ideologies at the time caging in women. Jane is subconsciously repelled by this screen and represents her discovering continuously figuring out what she wants. Metaphorically, Jane is trapped in that room by a culture established by men. Furthermore, Jane compares the wallpaper’s pattern to bars putting further emphasis on her feelings of being trapped and helpless. Later in the narrative, she catches Jennie staring at the wallpaper’s pattern and then decides to study the pattern and determine what it means herself. Her study of the pattern is representative of her trying to analyze the situation in which she’s in. By studying the pattern, she progressively discovers herself, especially when she sees the woman behind the
The central characters in both “The Yellow Wallpaper” and A Doll’s House are fully aware of their niche in society. In “The Yellow Wallpaper”, the narrator’s husband believes her illness to be a slight depression, and although she states "personally, I disagree with their ideas,” she knows she must acquiesce their requests anyway (Gilman 1). She says, “What is one to do?” (Gilman 1) The narrator continues to follow her husband’s ideals, although she knows them to be incorrect. She feels trapped in her relationship with her husband, as she has no free will and must stay in the nursery all day. She projects these feelings of entrapment onto the yellow wallpaper. She sees a complex and frustrating pattern, and hidden in the pattern are herself and othe...
Each John, the narrator's husband in “The Yellow Wallpaper”, Brently Mallard, Mrs. Mallard’s husband in “The Story of an Hour” and Henry Allen, Elisa Allen’s husband in “The Chrysanthemums” unknowingly lead their wives to a state of mental confinement through their actions taken that are meant to help them. John tells his wife to rest and not to think of her condition for the sake of him and the children which drove her mad because
The Room itself represents the author’s unconscious protective cell that has encased her mind, represented by the woman, for a very long time. This cell is slowly deteriorating and losing control of her thoughts. I believe that this room is set up as a self-defense mechanism when the author herself is put into the asylum. She sets this false wall up to protect her from actually becoming insane and the longer she is in there the more the wall paper begins to deteriorate. This finally leads to her defense weakening until she is left with just madness and insanity. All of the characters throughout the story represent real life people with altered roles in her mind. While she is in the mental institute she blends reality with her subconscious, forming this story from events that are happening all around here in the real world.
There is a similar treatment of space in the two works, with the larger, upstairs rooms at the summer lodging and at Thornfield Hall being associated with insanity and the smaller rooms below being safer and saner. Gilman's narrator expresses an early desire to move downstairs to a smaller, saner room, but her wish is ignored. Large rooms become haunted rooms in both stories as typified by the room with the yellow wallpaper, the Red Room, and the third floor room beyond which Bertha is confined.
In “The story of an Hour,” Louise Mallard learns from Josephine and Richards that her husband, Brently, has died. She confines herself to the upstairs room. While Josephine and Richards believes that she is upstairs grieving, Louise is actually rather happy that she is finally free from being contained by her husband. Louise looks out the window at a big and beautiful world. She has a completely new view of the world now. The adventitious death of her husband allows her to start thinking about making decisions for herself and seeing things without his opinion. Much like Louise’s situation, the husband constantly contains the narrator of “The Yellow Wallpaper,” to one room. She is enclosed in a large, yellow room because her husband says she is sick. The narrator is physically in need of human interaction. His keeping her inside this room is leading her to become more ill than she already is. Both of these women have been living with completely despondent spirits. As depicted in these two stories, Dorothy Hartman stat...
The Elizabethan World Picture begins focus on the Order of the Universe. Tillyard explains that God has created an order for everything. Cosmic order is a key characteristic in poetry and plays written in the Elizabethan time period. Tillyard claims that our order is affected by personal connections with each rank. Tillyard uses several examples of order in our lives one of those being, “the sun, and the king, primogeniture hang together”. Primogeniture is the right for the firstborn to inherit the family estates. This order is shown to be in conflict in Shakespeare’s play, Richard the Second. In Richard II the sun was the king, and he was to be respected as he divinely anointed by God for his role. We see an ignoring of this divine order when Henry Bolingbroke and the other nobles take it upon themselves to rebel and pressure the king into giving up his crown. Ironically, primogeniture is used to excuse treason in one case and then ignored to take Richard’s crown. When Bolingbroke arrived he claimed that he was only interested in taking back his God given right and at the end of the play we see Bolingbroke and the nobles ignoring Richard’s divine right to rule because he does not have the ability to rule. A lot of respect was given to cosmic order during Elizabethan times. It was believed that to be out of order, especially the cosmic order caused strife and chaos in the universe.
“A Doll’s House” gives the reader a firsthand view at how gender roles affected the characters actions and interactions throughout the play. The play helps to portray the different struggles women faced during the 19th century with gender roles, and how the roles affected their relationships with men as well as society. It also helps to show the luxury of being a male during this time and how their higher status socially over women affected their relationships with woman and others during this time period.
She is marginalize from society by her partner and she has to live in the shadows of him. She is unbelievably happy when she found out about the death of her husband. She expresses her feelings of freedom in her room where she realize she will live by herself. This illustrates that Louise has been living in an inner-deep life disconnected form the outside world where only on her room away from family and friends she discovers her feelings. It is important to mention that even though Louise has a sister, she does not feel the trust to communicate her sentiments towards her. We discover a marginalization from family members and more surprising from a women, Louise’s sister. The narrator strictly described Louise’s outside world but vividly reveals what is in her mind. At the same time she feels guilty of her emotional state by recognizing that she loved Brently mallard sometimes, her husband. Louise contradict herself but this demonstrates her emotional feelings about her husband disregarding her marriage. The situation of this woman represents the unhappiness and disgraceful life that women had to suffer from their
During the time that Charles Dickens lived, which was during the Victorian Age (1837-1901), “...1837 ( the year Victoria became Queen) and ends in 1901 in ( the year of her death),” (UNLV 1). It is important to realize that the Victoria’s reign over Britain is the second longest reign in British history, lasting for 63 years, only behind that of the current Queen Elizabeth. Many historians consider 1900 the end of the Victorian Age, “...since Queen Victoria’s death occurred so soon in the beginning of a new century,..” (UNLV 1). Even though Charles Dickens was born in 1812 and died in 1870, the Victorian Age is time period which most, maybe all, of his literature were published/read in. This era is often considered as “prudish, hypocritical, stuffy, and narrow-minded” (UNLV 2), because during this time, there were classes animosities between the “common man” and that of what was considered the “gentleman”, which was like as if they were two different species (Orwell 3.5). The advancement in literature during this period also was important, “...primarily financial, as in Charles Dickens’s Great Expectations…marrying above one’s station, as in Charlotte Bronte’s Jane Eyre...[it] may also be intellectual or education-based,” (UNLV 4). Without the literature advancements, the Victorian Age wouldn’t have made such an impact on the world as it did literary-wise.