Similarities between French Lieutenant's Woman and Jewel in the Crown
John Fowles's French Lieutenant's Woman and Paul Scott's Jewel in the Crown are two literary works that illustrate continuity in British literature over time. While French Lieutenant's Woman [is set in]...the Victorian era and Jewel in the Crown [depicts events in]... the twentieth century . . ., the two exhibit similar thematic content. Both works emphasize the importance of social stature, both portray society's view of what's acceptable in the intimate relationships of women, and both are stories in which two lovers are together regardless of whether or not society approves.
The portrayal of social statures in French Lieutenant's Woman is rather simple. Other than Sarah Woodruff, the characters are of the wealthy upper class. Sarah is described as a "poor but educated woman who has lost her reputation." Other characters include Charles Smithson, a wealthy gentleman who becomes Sarah's lover; Ernistina Freeman, Charles' fiance and daughter of a wealthy businessman; Mr. Freeman, Ernestina's father, a successful businessman who aspires to the upper class by marrying his daughter into [a higher class]...; and Ms. Poultney, a wealthy widow who takes in Sarah Woodruff to belittle and humiliate.
Social statures portrayed in Jewel in the Crown are more complicated; race also plays into the social status of its characters. The main character of the story is Daphne Manners, who starts off as upper class but is later demoted to "that Manners girl" due to an inter-racial relationship with Hari Kumar. Hari is born in India, but grew up well to do in England. Upon his return to India he has lost his social status. he aspires to the ...
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...disapprove and criticize her. It was a sad reality that white hostility for mixed relationships could devalue the life of an innocent child.
Jewel in the Crown and French Lieutenant's Woman illustrate in full, continuity in British literature. While French Lieutenant's Woman represents the 1860s and Jewel in the Crown represents the 1940s, the two literary works remain very similar in plot and theme. They also illustrate that the values of the British in regards to intimate relationships and social boundaries remained unchanged for over eighty years.
Works Cited
Damrosch, David, et al., ed. The Longman Anthology of British Literature. Vol. B. Compact ed. New York: Longman - Addison Wesley Longman, 2000.
Scott, Paul. The Jewel in the Crown. (1966.) Vol. 1 of the Raj Quartet. Rpt. Chicago: Univ. of Chicago Press, 1998.
...es for love and overcame the social expectations of the quintessential woman in the nineteenth century; whereas their counterparts around them would have chosen class and wealth. Edna Pontellier’s decision to move into her pigeon house and away from her husband’s rule and the vexing job of caring for her children was viewed as societal suicide, but to her liberation and self-actualization as a woman was more important. Elizabeth Bennet ultimately disregarded her mother’s wishes, and passed over Mr. Collins, she initially disregarded Mr. Darcy as a possible suitor but love proved otherwise. These women were on a path of destruction to free themselves from a long reign of oppression, their challenge of conventional methods within the nineteenth century, proved successful not only to them, but for a future collective group of women who would follow in their footsteps.
Damrosch, David, et al., ed. The Longman Anthology of British Literature: Vol. B. Compact ed. New York: Longman - Addison Wesley Longman, 2000. p. 2256
The Norton Anthology of English Literature, Volume 1c. New York: W.W. Norton & Co, 2006. Print. The.
Gwendolen and Cecily act like air-heads and are easily won over by the men they plan to marry. Gwendolen simply wants to marry a man named Earnest. She tells Jack “my ideal has always been to love someone of the name of Ernest” (I.381-82). The mere idea of marrying a man for his name shows how easily Gwendolen can attach herself to a man. Marriage is the most serious of all relationships and Gwendolen is foolish to deter...
Abrams, M.H., et al. ed. The Norton Anthology of English Literature. 6th ed. 2 Vols. New York: Norton, 1993.
Kate Chopin's "The Story of an Hour" demonstrates the highly typical gender roles that could be found in a late 1800's scene as it shows even if the marriage is kind, it could be inherently oppressive. This is clearly shown through the relationship of Mr. and Mrs. Mallard, as when news hits Louise Mallard that her husband has passed on, a large wave of grief washes over her; however, it passes when she realizes that she will be able to bite into the forbidden fruit of freedom. According to Louise, this freedom would mean "there would be no one to live for her during those coming years; she would live for herself. 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-crea...
It is the aim of this piece to consider how two elements are developed in the opening chapters of three classic novels written by 19th century English women: Emma, Wuthering Heights, and Jane Eyre, respectively. The elements to be considered are a) character; and b) character relationships. Consideration will be given to see how each opening chapter develops these two aspects, and the various approaches will be compared and contrasted as well.
In the book, Rebecca by Daphne Du Maurier, there exist a big emphasis on social class and position during the time of this story. When we are introduced to the main character of the story, the narrator, we are right away exposed to a society in which different privileges are bestowed upon various groups. Social place, along with the ever present factor of power and money are evident throughout the story to show how lower to middle class groups were treated and mislead by people on a higher level in society. When we are introduced to the narrator, we are told that she is traveling with an old American woman; vulgar, gossipy, and wealthy, Mrs. Van Hopper travels across Europe, but her travels are lonely and require an employee that gives her warm company. This simple companion (the narrator) is shy and self-conscious, and comes from a lower-middle class background which sets up perfect for a rich man to sweep her off her feet. The narrator faced difficulties adapting to first, the Monte Carlo aristocratic environment, and second, to her new found position as Mrs. De Winter, the new found mistress of Manderley.
Oscar Wilde’s “The Importance of Being Earnest” epitomizes the idiosyncrasy of the Victorian society through satire and wit. Throughout the play Wilde criticizes the common perception of the mid seventeenth through early eighteenth century culture, “Prudish, hypocritical, stuffy and narrow minded”. With his quintessential characters and intricate situations Wilde configures the perfect depiction of the carless irrationality of social life, the frivolity of the wealthy, the importance of money, and the lack of reverence for marriage often manifested by those in this era. Wilde also jabs at the Victorian convention to uphold the appearance of decency in order to hide the cruel, indignant and manipulative attitudes of the time. Through setting, characters, comedy, and a great deal of drama Oscar Wilde portrays his views on the elitist of his time.
Wilde, Oscar. The Importance of Being Earnest and Other Plays. Ed. Richard Allen Cave. New York: Penguin, 2000.
In ‘The Important of Being Earnest’, Oscar Wilde's ridiculing representation of Victorian Society comments on the ridiculous behavior of the Victorian Society’s inability to recognise the difference between important and unimportant issues. Therefore, Oscar Wilde subverts Victorian values to mock and imply triviality and superficiality. Wilde forces the audience to rethink the importance of their life and how they act while also scrutinizing the ignorance of the characters in upper class society through mocking their morals and obsessive fascinations. Wilde's uses the inversion of what isn’t serious and what is to ridicule Victorian Society. Despite this, Wilde wanted to create something beautiful and superficial. Hence, it would be more accurate to say everything in the play is presented as superficial so perhaps there isn’t a message that needs to be taken seriously.
Abrams, M.H., ed. The Norton Anthology of English Literature. 6th ed. Vol. 2. New York: Norton, 1993.
Contrary to the stereotypical woman of the Victorian culture, both female characters Gwendolen and Cecily become instigators of love, from influencing the proposal to composing their own love letters from their lovers. Gwendolen affirms her forwardness in romantic matters when she exclaims to Jack who is hesitant about proposing, “I am afraid you have had very little experience in how to propose” (Powell, 132). Not only do the ladies have a skewed view of marriage and their responsibilities within that relationship, but the men do as well. Algernon says of proposals, “I really don’t see anything romantic in proposing. It is very romantic to be in love. But there is nothing romantic about a definite proposal. Why, one may be accepted” (Ericksen, 150). He clearly has a skewed view of marriage. When it comes to Lady Bracknell, her view of marriage is primarily concerned with money and sometimes concerned with social respectability. When questioning Jack about the potential of marrying Gwendolen, she focuses on typically irrelevant characteristics. Lady Bracknell says of Jack’s confession to his tendency to smoke, “I am glad to hear it. A man should always have an occupation of some kind” (Greenblat, 539-540). She goes on to take interest in such things as his knowledge and education, finances, and family
Jane Austen’s works are characterized by their classic portrayals of love among the gentry of England. Most of Austen’s novels use the lens of romance in order to provide social commentary through both realism and irony. Austen’s first published bookThe central conflicts in both of Jane Austen’s novels Emma and Persuasion are founded on the structure of class systems and the ensuing societal differences between the gentry and the proletariat. Although Emma and Persuasion were written only a year apart, Austen’s treatment of social class systems differs greatly between the two novels, thus allowing us to trace the development of her beliefs regarding the gentry and their role in society through the analysis of Austen’s differing treatment of class systems in the Emma and Persuasion. The society depicted in Emma is based on a far more rigid social structure than that of the naval society of Persuasion, which Austen embodies through her strikingly different female protagonists, Emma Woodhouse and Anne Eliot, and their respective conflicts. In her final novel, Persuasion, Austen explores the emerging idea of a meritocracy through her portrayal of the male protagonist, Captain Wentworth. The evolution from a traditional aristocracy-based society in Emma to that of a contemporary meritocracy-based society in Persuasion embodies Austen’s own development and illustrates her subversion of almost all the social attitudes and institutions that were central to her initial novels.
Longman. The Longman Anthology of British Literature, vol. B. Damrosch, D. (ed.). NY, LA: Addison Wesley Longman, Inc. 2000.