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The portrayal of women in 19th century literature
Female roles in early British literature
Female roles in early British literature
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Christina Rossetti and John Keats were both poets in their own prime. Rossetti wrote the somewhat controversial poem, Cousin Kate (1879) and John Keats wrote the French named poem, La Belle Dame sans Merci, (1819) which means “the beautiful woman without mercy”.
Both poems explore the injustices of love and power and also the consequences of what happens with a potentially bad decision. Not only this, they both address these themes with a particular balance of the two; they both have similarities, yet they both contrast in many different ways. Each poem shares similarities which are reflections of the poets’ lives before they became literary sensations.
Christina Rossetti, who came from an artistic and incredibly religious background, was a devoted Anglo-catholic and spent a lot of time and energy as a member of the Church of England. Her work consistently conveys her deep religious sensitivities and pervades through most of her poems. However this did not lead to a preaching and moralising front; on the contrary, she did all she could to help the disadvantageous women of that society: prostitutes.
Details of Rossetti’s life were a vast contrast to how Victorian women were ‘supposed’ to act in those times. Women were not supposed to be precocious or adulterated, however, Rossetti and her beliefs challenged the traditional Victorian ‘dream’, therefore resulting in her involvement with prostitutes at the St. Mary Magdalene “house of charity” in Highgate.
Rossetti’s religious convictions were so strong that they led to heart break when she rejected two marriage proposals; the marriage proposal of Charles Cayley hit her fiercely, as her love for him was profound and it was to leave a lasting impact on her life and her work. S...
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...ould give up anything to have an heir to his fortune, and a son adds to the novelty as well. In spite of this, and very contradictorily, the maiden uses her son as a tool, just as she was, to show off how well she is doing. I would say this is not the intended epitome of Victorian traditions, however it seemed to have worked in favour of them maiden in Cousin Kate.
The poem ends on a less happier not that it began with; the emphasis is now on the narrator’s positive situation and the negative situation of Kate’s and the Lord’s, however, although this is the case, there are certain words within the poem, to describe the narrator, which are sad, and show off her desperation, want and even need for a better life, especially now that she has her illegitimate child. Words such as ‘shameful’ and ‘shameless’, ‘unclean’ and ‘howl’ emphasizes this point with efficiency.
Both poems are set in the past, and both fathers are manual labourers, which the poets admired as a child. Both poems indicate intense change in their fathers lives, that affected the poet in a drastic way. Role reversal between father and son is evident, and a change of emotion is present. These are some of the re-occurring themes in both poems. Both poems in effect deal with the loss of a loved one; whether it be physically or mentally.
Both authors use figurative language to help develop sensory details. In the poem It states, “And I sunned it with my smiles, And with soft deceitful wiles.” As the author explains how the character is feeling, the reader can create a specific image in there head based on the details that is given throughout the poem. Specifically this piece of evidence shows the narrator growing more angry and having more rage. In the short story ” it states, “We are below the river's bed. The drops of moisture trickle among bones.” From this piece of text evidence the reader can sense the cold dark emotion that is trying to be formed. Also this excerpt shows the conflict that is about to become and the revenge that is about to take place. By the story and the poem using sensory details, they both share many comparisons.
Armstrong, Isobel. 'A Music of Thine Own': Women's Poetry. in: Joseph Bristow, Victorian Women Poets. Emily Bronte, Elizabeth Barrett Browning, Christina Rossetti. Basingstoke and London: Macmillan Press Limited, 1995, 32-63.
works of literature have tremendous amounts of similarity especially in the characters. Each character is usually unique and symbolizes the quality of a person in the real world. But in both stories, each character was alike, they represented honor, loyalty, chivalry, strength and wisdom. Each character is faced with a difficult decision as well as a journey in which they have to determine how to save their own lives. Both these pieces of literatures are exquisite and extremely interesting in their own ways.
In conclusion, even though both of these works resulted in death, they still represent two completely different genres with a common theme. Two different approaches came up with the same theme which was supported throughout the poem and the short story. Without this aspect of the story, there wouldn’t be a story. Because without these themes there is no conflict in the poem or short story, and without conflict, that leaves a very boring plot.
These final words sum up her feeling of helplessness and emptiness. Her identity is destroyed in a way due to having children. We assume change is always positive and for the greater good but Harwood’s poem challenges that embedding change is negative as the woman has gained something but lost so much in return.
... overall themes, and the use of flashbacks. Both of the boys in these two poems reminisce on a past experience that they remember with their fathers. With both poems possessing strong sentimental tones, readers are shown how much of an impact a father can have on a child’s life. Clearly the two main characters experience very different past relationships with their fathers, but in the end they both come to realize the importance of having a father figure in their lives and how their experiences have impacted their futures.
Although these poems are both centered around the theme of love, they each contain a different meaning. Lord Byron's “She Walks in Beauty” is dedicated to conveying love through the use of metaphors. Keats' poem, “La Belle Dame sans Merci,” on the other hand, tells a story about how love can be deceiving. Despite their differences, these poems have similarities as well. They each have three parts that progress a story along through the use of literary techniques. Each poem was also written in the early 1800's. These poems both implicate the reader to make a connection to everyday life by relating possible experiences of love.
In Rossetti’s poem “In an Artist’s Studio”, she illustrates a man in the art studio surrounded around his canvases. On each of his canvases, he has painted the same woman in different positions, as depicted in, “One selfsame figure sits or walks or leans” (Rossetti 104). This man continuously paints the same women, each time depicting her differently as demonstrated, “A saint, and angel…” (Rossetti 104). Similarly, in McKay’s poem he illustrates for the readers, a dark skinned, half clothed woman dancing. Both of these poems focus on how men view women, and how men idealize women for their beauty, or some other desirable part of them. Both of these poets express that men do not appreciate the wholeness and complexity of both of these women. McKay’s idealized woman is also a woman of colour, which may lead into a discussion of race gender, and sexuality. In Rossetti’s poem, the artist “feeds upon” (Rossetti 104) the object of his affection, “not as she is, but as she fills his dreams” (Rossetti 104). Also, McKay’s narrator idealizes her physical beauty and describes how everyone “devoured” her beauty, even though “her self was not in that strange place” (McKay 18). The main difference is that McKay’s narrator sees his desired woman as having “grown lovelier for passing through a storm” (McKay 18), whereas Rossetti’s artist uses his art to wash away the pain-and by extension, the
The poetry by these two poets creates several different images, both overall, each with a different goal, have achieved their purposes. Though from slightly different times, they can both be recognized and appreciated as poets who did not fear the outside, and were willing to put themselves out there to create both truth and beauty.
Christina Rossetti born in London on December 5, 1830; Rossetti was homeschool by her mother Gabriele Rossetti; during her homeschooling she developed a great devout religious temperament as a young girl. Christina along with her mother and sister were all a member of the evangelical branch of the Church of England, Rossetti later on developed interest in the Tractarianism and became a Tractarian. A Tractarain was a follower(s), and supporters of the Oxford movement, Tractarianism was basically the religious opinions and principles held by the founders of the Oxford movement that was placed in series of ninety pamphlets titled Tracts for the Times, published in Oxford, England between 1833-1841.Rossetti bega...
Both poems inspire their reader to look at their own life. In addition, they treat the reader to a full serving of historic literature that not only entertains, but also teaches valuable lesson in the form of morals and principles.
Rossetti’s subject matter is erotic, with very visible sensual undertones. The language Rossetti uses insinuates sexual temptation, repression and desire, and it manages to be situated slightly between children’s folklore and adult prose fiction. Such as “Plump unpeck’d cherries,” “Pluck them, suck them,” and “juice that syrupp’d all her face”. Sisters, Lizzie and Laura, represent women’s double quandary in the Victorian sexual economy: either risk becoming a commodity yourself, or risk never tasting desire, never letting yourself in a sense be free and a whim to your natural physical urges. Rossetti’s repressed protagonists assume an inferior position in the presence of the...
Rossetti’s use of repetition emphasizes the idea that the artist is able to set expectations for women by controlling who they are, what they do, and what they feel by recreating them through art. Rossetti shows us a woman who is repeatedly being depicted in the artist’s paintings. Repetition of the word “one” (1,2,8) conveys a sense of homogenization: many women
Even early in his career, Rossetti's interest in Dante is apparent. In 1848, he translated portions of Aligheri's Vita Nuova, which details Dante's unconsummated love for Beatrice, a theme that also runs through the Divine Comedy. It is at this time that Rossetti changed the order of his name and initials, dropping "Charles" altogether. This would become a lifelong identification with the poet, emphasized by his relationship with Elizabeth Siddal (Rodgers, p 16).