The portrayal of women throughout the history of literature has changed greatly over the years. The once elegant, quiet, and helpless damsels in distress has changed into strong independent women who try to speak their mind and fight for themselves, just as any male would. More modern writers try to weave many of these modern ideals of women with all its complexity into cohesive, interesting and even awe-inspiring heroines both on film and in novels. And many times, these same ideals of intelligence, strength, and complexity are even implemented in villainous female characters. However, not all writers would feel this way about modern female characters. Famous writers such as Charles Dickens had a different set of ideals for women that
Throughout his many works, Dickens has had several "good" female heroines and they are seem to fit a distinct mould. They oftentimes appear to be "truly virtuous, patient, domestic women...mostly in the home, doing domestic things and supporting her husband" (Scheckner 270-272). Many of these ideals can be seen in the women of Dickens ' life, such as Maria Beadnell, Mary Hogarth, and Ellen "Nelly" Ternan. The first of the three women was the daughter of a banker that Dickens became obsessed with. She did not return his sentiments and neither did her parents upon learning his father was a debtor (Ackroyd). Dickens appears to enjoy women that are put on such a high pedestal that they are unobtainable (Fox par. 3), which was exactly what Maria was for him. She was young, she was beautiful, and she was almost exactly paralleled into the character of Lucie. Charles Darnay is said to be Charles Dickens ' self-insert into the novel and it is quite apparently shown in the character 's relationship with Lucie. Darnay in the novel becomes rather attached to Lucie and even comes to her father Dr. Manette to tell him about his affection (Dickens 83). Like in the case with Maria’s father, Dr. Manette was hesitant upon hearing who Darnay 's father was, an Evremonde. But unlike reality, Darnay is actually able to marry Lucie (Dickens 117). This paralleling of reality into his novel is able to show the
She is said to have been "just seventeen" (or eighteen depending on the source) when she collapsed on the stairs and died in Dickens ' arms. Dickens ' is said to have went through intense grief, cutting off locks of her hair to keep; and keeping Mary 's clothes which he would take out at times to stroke, wishing he was buried next to her (Fox par. 6). Youth appears to be a common thread that links many of the women Dickens admired. But in the case of Mary, Dickens shows a love of very lovely, innocent, and virginal young women (Fox par. 5) or in other words, "a living doll" (Fox par. 17). This can be seen in the character of Lucie, who is very young when she is first introduced into the novel, and is commonly described as being "a golden-haired doll" (Dickens 56). Dickens ' female heroines are often granted more "passive, silent, marginal figures" within his work, and Lucie is an example of one (Robson par. 2). These trait are also seen in Mary Hogarth who is described as “gentle and selfless” (Simkin par. 6). However, even though many of these characteristics fit Mary Hogarth, they on a whole described the Victorian ideal of women of youthful, innocent, virginal women (Pool 188-189). By giving Lucie characteristics of his beloved sister-in-law Mary, Dickens is able to convey many of the Victorian ideals of women in his
Margaret Atwood’s speech ‘Spotty-Handed Villainesses’ is an epideictic text, which explores the significance of having a multi-faceted depiction of female characters within literature as a means of achieving gender equity, centring on the fictional presentation of women as either virtuous or villainess. The title of the speech
Society continually places specific and often restrictive standards on the female gender. While modern women have overcome many unfair prejudices, late nineteenth- and early twentieth-century women were forced to deal with a less than understanding culture. Different people had various ways of voicing their opinions concerning gender inequalities, including expressing themselves through literature. By writing a fictional story, authors like Charlotte Perkins Gilman and Henry James were given the opportunity to let readers understand and develop their own ideas on such a serious topic.
The character of Esther is widely criticized for her perfection as a character, both receiving positive acclaims and negative feedback. Esther’s reserved, quiet character illustrates the role of women during the Victorian period and what little impact on society women played. Critics of Bleak House generally praise the narration and Dickens’s use of Esther’s character, which gives direction to the novel.
Lastly and most importantly would be Lucie’s elaborate expression of sentimentality in her constant fainting at the least sign of distress. However unbearable it might have seemed, the reader could not fully appreciate the significance of her character and why she was loved by so many equally sentimental; characters in the novel. When Lucie early on testifies at Darnay’s trial in the English court, she says, “He was kind, and good, and useful to my father. I hope,” and here she bursts into tears, “ I may not repay him by doing him harm here today.” Her deep sensitivity and generous nature shines through. And remember, when Lucie stands forlornly and devotedly at a place near the Paris prison in order for her husband, Darnay, to glimpse her and their child, it is clear that Dickens wanted to portray her as a loving, faithful, and sympathetic person.
She becomes Dickens’ embodiment of the feminine archetype, and rewards her for these qualities, which perhaps work to mirror a belief that intrinsic value can overcome external hardship, as Esther does in Bleak House. These qualities seem to only be emphasized when compared to the likes of her counterparts that litter the novel; Lady Dedlock and Mrs. Jellyby seem to have the strongest effect when juxtaposed. However despite Esther’s conformity to these qualities, that does not necessarily suggest that she is a weak, flat or misogynistic character. Rather, these qualities serve to empower her; it is through her voice, her first-person narration through which the reader is able to view the world of Bleak House. She uses these characteristics in order to gain a voice, in contrast to Lady Dedlock, without causing harm to those around her, as Mrs. Jellyby does to her children. Through a maternal agency, Esther is able to develop a voice that subverts the patriarchal norms of the time, and undoubtedly shapes the subtleties of Esther’s character that make her so effective and
In a society where the focus on equality amongst different races, religions and sexes continues to grow, it is no surprise that literature has begun to follow suit. Publishers have seen a rise in strong, capable female protagonists who overcome a variety of struggles to save themselves or others and both teens and adults alike rush to get their hands on this material. With such popular literary works to choose from, it seems strange that many schools continue to rely on somewhat archaic material that mistreats and degrades so many women. In John Steinbeck 's Of Mice and Men, for example, the only female character the reader interacts with is treated like a lower-class prostitute who is ultimately killed off due to her seductive behavior. Though Steinbeck 's treatment of women comes mainly from classic gender roles, his portrayal of female characters in Of Mice and Men is
Sidney Carton’s conversation with Lucie Manette is an example of foreshadowing. Mr. Carton confesses to Lucie that he loves her and also states, “ For you, and any dear to you, I would do anything” (Dickens 117). Even though Carton does not distinctly know that he will be sacrificing his life, this phrase foreshadows the ending of the novel, which requires Mr. Carton sacrificing himself to save Darnay. In the chapter when Mr. Carton and Charles Darnay are switching places, Sidney Carton has Darnay write to Lucie, “’I am thankful that the time has come, when I can prove them. That I do so is no subject for regret or grief’” (Dickens 273). Mr. Carton does something for Lucie like he previously stated he would. At the end of the novel, Sidney Carton feels like he achieved and fulfilled his purpose in life by saving Darnay for Lucie.
These women authors have served as an eye-opener for the readers, both men and women alike, in the past, and hopefully still in the present. (There are still cultures in the world today, where women are treated as unfairly as women were treated in the prior centuries). These women authors have impacted a male dominated society into reflecting on of the unfairness imposed upon women. Through their writings, each of these women authors who existed during that masochistic Victorian era, risked criticism and retribution. Each author ignored convention a...
From the beginning of the novel, Lucie is willing to make sacrifices to take care of her family and keep the bond between them strong. Lucie’s first life-altering sacrifice begins when she realizes that her father, thought to be dead, is alive. While discussing Lucie’s father, Mr. Lorry says to Lucie, “Your father has been taken to the house of an old servant in Paris, and we are going there: I, to identify him if I can: you, to restore him to life, love, duty, rest, comfort” (Dickens 29). Given this information from Mr. Lorry, Lucie recognizes that her jaded father needs her help in order to return to a normal life. This requires great sacrifice, but, later in the novel, Lucie also takes on the task of caring for the rest of her family. While quietly sitting in her house, listening to footsteps, Lucie is “Ever busily winding the golden thread that bound them all together, weaving the service of her happy influence through the tissue of all their lives, and making it predominate nowhere” (Dickens 216). Lucie’s “golden thread” is the single thing holding the family together, keeping peace and eliciting happiness through her sacrifices. She is able to bring her father out of madness an...
Reading literature, at first, might seem like simple stories. However, in works like William Faulkner's “A Rose for Emily,” Katherine Mansfield's “Miss Brill,” and Kate Chopin's “The Storm,” the female protagonists are examples of how society has oppressive expectations of women simply because of their gender.
In his “A Tale Two Cities”, Charles Dickens uses the characters of Lucie Manette and Madame Defarge as two strong women that contrast against the rather manly group of characters. These women are both driven to do what they believe is right. Although Lucie and Madame are strong willed and independent, they both use these strengths differently. Lucie is a woman who is driven by love and affection. Whereas Madame Defarge is driven by hate and rebellion. Both these women, although similar, have such significant differences.
In order for us to deal with how a consideration of femininity can effect our understanding of a literary text, we must also be able to grasp the notion of `feminism' and `Feminist Literary Theory'. A dictionary definition of `feminism' is: `the advocacy of women's rights on the grounds of the equality of the sexes.' Although this leans towards feminism in the historical sense of the word, it still provides the grounds, or foundations, from which feminist literary theories were created. Feminists argue against the stereotyping and social construction of female norms, seeing them as created by men in order to establish their own sense of power. It is thought that while males suggest that gender is sex and not actually a construct, the female role will become much more passive, stereotyped and controlled.
Throughout American Literature, women have been depicted in many different ways. The portrayal of women in American Literature is often influenced by an author's personal experience or a frequent societal stereotype of women and their position. Often times, male authors interpret society’s views of women in a completely different nature than a female author would. While F. Scott Fitzgerald may represent his main female character as a victim in the 1920’s, Zora Neale Hurston portrays hers as a strong, free-spirited, and independent woman only a decade later in the 1930’s.
...present powerful characters, while females represent unimportant characters. Unaware of the influence of society’s perception of the importance of sexes, literature and culture go unchanged. Although fairytales such as Sleeping Beauty produce charming entertainment for children, their remains a didactic message that lays hidden beneath the surface; teaching future generations to be submissive to the inequalities of their gender. Feminist critic the works of former literature, highlighting sexual discriminations, and broadcasting their own versions of former works, that paints a composite image of women’s oppression (Feminist Theory and Criticism). Women of the twenty-first century serge forward investigating, and highlighting the inequalities of their race in effort to organize a better social life for women of the future (Feminist Theory and Criticism).
Women roles have changed drastically in the last 50 to 80 years, women no longer have to completely conform to society’s gender roles and now enjoy the idea of being individuals. Along with the evolution of women roles in society, women presence and acceptance have drastically grown in modern literature. In early literature it was common to see women roles as simply caretakers, wives or as background; women roles and ideas were nearly non-existent and was rather seen than heard. The belief that women were more involved in the raising of children and taking care of the household was a great theme in many early literatures; women did not get much credit for being apart of the frontier and expansion of many of the nations success until much later.