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Now and then character analysis
Now and then character analysis
Now and then character analysis
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In Evelyn Waugh’s Brideshead Revisited, marriage is a prevalent theme that Waugh utilizes to convey the different roles marriage serves in the past and the present. The protagonist Charles Ryder becomes acquainted with the Flytes, a family of wealthy Catholics, and he eventually forms a relationship with Julia, despite both being married. Therefore, they plan to divorce their respective spouses to marry each other.. Charles and Julia’s affair displays how marriage serves to pursue personal interests and how religious views can unwillingly impact of a relationship in Brideshead Revisited.
Marriage in Brideshead Revisited is forged with greedy intentions to fulfill self-interests. In Charles and Julia’s respective marriages, it is apparent that
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the marriages are dull. Charles is married to an overly-feminine and overly-enthusiastic woman. His wife, Celia, “had married [him] six years ago. . .she had firm faith in [his] genius and ‘artistic temperament’” (Waugh, 265). Charles admits that Celia had helped him launch his artistic career. However, he is unappreciative of the barn Celia turned into his art studio, and he even forgot about their second child. This implies that Charles does not care about his wife and children, but his marriage helps him as an artist because of Celia’s efforts. Similarly, Julia marries Rex because she is sexually active with him before marriage, which is immoral in Catholic beliefs. At first, the Flytes had opposed the relationship between the two because Rex is a non-Catholic and from a different social class. However, when Julia admits that “‘[she’ve] been Rex’s mistress for some time now, and [she] shall go on being, married or not” (Waugh, 227), it ultimately persuades her mother to allow the marriage. It is much respectable for Julia to have sex with Rex as his wife rather than as his mistress. As shown, Julia’s marriage is also a way to regain the honor in the Flytes. Eventually, Julia’s marriage becomes lackluster, much like Charles’s. This similarity initiates the blooming of their relationship, but over time, Charles and Julia begin to face a downturn in their relationship. Charles claims himself as an agnostic while Julia slowly returns to Catholicism even though she tries to avert from it.
This difference in beliefs leads to the lack of success in Charles and Julia’s relationship. As Charles and Julia’s affair progresses, Julia advises that they get married because of “’War . . . this year, next year, sometime soon’” (Waugh, 320). Although Julia is literally talking about the impending World War II, this “war” is also a metaphor for each other’s struggle to view Catholicism under the same light. Julia’s suggestion also foreshadows a growing gap, which eventually happens when Julia expresses her guilt about constantly living in sin. Charles, who is watching Julia throughout the rant, feels as if “[he] was adrift in a strange sea and…[he] was as far from her in spirit” (Waugh, 331). Though Charles attempts to understand Catholicism throughout the book, his shortcomings to understand is shown through his incapability to connect when Julia brings up religion. This lack of understanding makes it difficult for Charles to sympathize with her when she was crying. Charles later comforts her by calling religion “bosh,” but Julia says, “’How I wish it was’” (Waugh, 333). While Charles thinks that religion is preposterous, Julia strongly praises her beliefs. This difference in religious views causes the downfall of the two’s relationship, showing that successful marriages depend on similar religious
views. Waugh’s portrayal of marriage in Brideshead Revisited suggests that religion is a way to socially benefit oneself and demonstrates that religion plays a large role in determining the success of the marriage. In the 1920s, marriages to climb up the economic and aristocratic level and a mutual understanding of religion is essential to keeping relationships stable, as shown in Charles and Julia’s affairs. Waugh’s portrayal contrasts sharply to present day, where marriages are built from a foundation of caring and respecting each other. Most importantly, today, love has no boundaries.
The angry tone of Wollstonecraft’s “Vindication of the Rights of Women” significantly contrasts with the cautionary tone of Austen’s “On Making an Agreeable Marriage,” seeking to reform society rather than guide people to live in that society. When Austen describes the drawbacks of loveless marriage, she writes that “Anything is to be preferred or endured rather than marrying without affection” (Austen 72-73). Austen uses “preferred” and “endured” to warn her niece against marrying too quickly, creating a cautionary tone. Moreover, “anything” emphasizes the miserableness of a marriage without affection, beseeching Austen’s niece to verify her love before diving headfirst into a marriage. In contrast, when demonizing the education system, Wollstonecraft
The Bible which is seen as one of the most sacred text to man has contained in it not only the Ten Commandments, but wedding vows. In those vows couples promise to love, cherish, and honor each other until death does them apart. The irony of women accepting these vows in the nineteenth century is that women are viewed as property and often marry to secure a strong economic future for themselves and their family; love is never taken into consideration or questioned when a viable suitor presents himself to a women. Often times these women do not cherish their husband, and in the case of Edna Pontiellier while seeking freedom from inherited societal expectations and patriarchal control; even honor them. Women are expected to be caretakers of the home, which often time is where they remain confined. They are the quintessential mother and wife and are expected not to challenge that which...
Most American women would shudder at the thought of their husband spending time with another woman. Not Elizabeth Joseph. Joseph chronicles her life in polygamy in an essay that appeared in the New York Times in 1991 entitled “My Husband’s Nine Wives”. Joseph discusses how it is problematic to manipulate her life around her husband Alex, her occupation and her youngster on a daily basis. She argues monogamous relationships are chockfull of “compromises” and “trade-offs”. She mentions how excited the children are when their Father comes to eat once a week. Joseph speaks of making an “appointment” to spend time with him. If it is another wife’s turn, Joseph may interject if she is “longing for intimacy and comfort only he can provide.” (148) Joseph asserts pleural marriage is the only resolution to her problems. Unlike Joseph, most American women are managing a demanding full time job, hyperactive children and their needy husband on a daily basis.
Love waxes timeless. It is passionate and forbidden and a true head rush. Marriage, on the other hand, is practical, safe, a ride up the socioeconomic ladder. In "The Other Paris," Mavis Gallant weaves the tale of Carol and Howard, a fictional couple who stand on the verge of a loveless marriage, to symbolize the misguided actions of the men and women in the reality of the 1950s, the story's setting. By employing stereotypical, ignorant, and altogether uninteresting characters, Gallant highlights the distinction between reality and imagination and through the mishaps and lack of passion in their courtship mockingly comments on society?s views of love and marriage.
Weldon’s story is filled with irony, as the young woman seeks justification for an affair with a man who was, “supervising my thesis on varying concepts of morality and duty” (Weldon 147). Peter is her professor; his duty is to teach her about morality. As a married man, Peter is burdening her with the choice between her own morality and a struggle to be like her sister. The woman’s sister urges her to “just go for it, sister. If you can unhinge a marriage, it’s ripe for the unhinging, it would happen sooner or later, it might as well be you” (150). She wrestles with the idea of destroying a marriage, and ov...
Mahin, Michael J. The Awakening and The Yellow Wallpaper: "An Intertextual Comparison of the "Conventional" Connotations of Marriage and Propriety." Domestic Goddesses (1999). Web. 29 June 2015.
Marriage is an important theme in the stories Their Eyes Were Watching God by Zora Neale Hurston and The Story of an Hour by Kate Chopin. When someone hears the word “marriage”, he thinks of love and protection but Hurston and Chopin see that differently. According to them, women are trapped in their marriage and they don’t know how to get out of it so they use language devices to prove their points.
In Western culture, it is understood that marriage is based on an equal partnership and not one person controlling the other. On the contrary, in the early 19th century, women were usually in unions that were male dominated. Women were meant to be seen and not heard. Likewise, in the short story, “The Story of an Hour” and the play “Trifles”, two women from very different circumstances share the same fate of being dominated by their husbands and lose their identity while married.
Lady Chudleighs’s “To the Ladies” exhibits a remorseful stance on the concept of joining holy matrimony. Chudleigh’s usage of metaphoric context and condescending tone discloses her negative attitude towards the roles of a wife once she is married. It is evident that Mary Chudleigh represents the speaker of the poem and her writing serves a purpose to warn single women not go get married and a regretful choice to women who are.
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
Marriage is the union of two people, traditionally husband and wife. Traditional also are the roles that women play when confined in a marriage. When a woman has had the opportunity to educate herself pass tradition and has been use to a fast-paced modern lifestyle, this role of the wife might prove to be quite onerous to mold to. Usually a time of joy, celebration, and adulation, marriage may also bring along emotional and physical pain as well as awkward situations, as the woman must alter herself to conform the traditional role of what a wife should be. Bessie Head depicts two modernized, educated women in her short stories of “Life” and “Snapshots of a Wedding”. These women are forced to change from the only lives they knew as single women to the new roles they must live up to as wives.
Lady Bracknell represents the typical aristocrat who focuses the idea of marriage on social and economic status. She believes that if the men trying to marry these girls are not of proper background, there is no engagement. Through this major exaggeration, Wilde satirically reveals the irrational and insignificant matters that the upper class society uses to view marriage.
In Pride and Prejudice, Jane Austen shows examples of how most marriages were not always for love but more as a formal agreement arranged by the two families. Marriage was seen a holy matrimony for two people but living happil...
“There is no perfect relationship. The idea that there is gets us into so much trouble.”-Maggie Reyes. Kate Chopin reacts to this certain idea that relationships in a marriage during the late 1800’s were a prison for women. Through the main protagonist of her story, Mrs. Mallard, the audience clearly exemplifies with what feelings she had during the process of her husbands assumed death. Chopin demonstrates in “The Story of an Hour” the oppression that women faced in marriage through the understandings of: forbidden joy of independence, the inherent burdens of marriage between men and women and how these two points help the audience to further understand the norms of this time.
Within these marriages, readers get a sense of how education plays an important role in a successful marriage, as this fulfills both of their dreams of personal identity. Although women in the nineteenth century were viewed to be superior wives and mothers, manage the household, and perform domestic tasks, it was important for women to become educated as “an education was supposed to enable these girls to become successful women in society” (Leigh 117). Women were not meant to be “trained” in some way to become good wives, but needed to be formally educated in order to be a successful wife and