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Gender roles in ancient greece and rome research paper
Gender roles in the Renaissance period
Gender roles in the Renaissance period
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The cost to him was the loss of that wretched hat. It fell to the sea lest I would have had it burned otherwise. Though its truer purpose be a veiled mask, for the cur’s face be not a his and not so hideous as I once thought. It was hiding a radiant skin, brown and velvet, covered in a sheen of sweat and exhilaration. I caught sight of dark locks descending into spirals down her back, wild and unpinned. Long lashes framed her upturned eyes giving them the shape of olives, like the olives of Cerignola, for they be just as green. How could this be? I so believed her a man or was I convinced by the mere height of her stature. Taller still than some of our men, though I did not look down upon her, but held my eyes to a parallel gaze. …show more content…
Another attempted effort with her razored dagger and I was no more the gentleman. I held the pistol to her head. “If the flint strikes, you will surely die,” I warned her. Be thou a cur or be thou a woman, I would see her die before my captain. Him being the only father I have ever known, I would not have him share Charles Doyle’s fate. Simon Freely then appeared aft to give us the news. We had won the battle. The looters be surrounded, dead or injured. He has seen to it; it was over. But what of this woman now aboard our ship, he asked of my captain. Simon was just as surprised to see her as the rest of us. Lo, we awaited his answer; his expression be perplexed. My captain would go to stand mere inches from her face. He introduced himself as a gentleman would do and be it his facetious manner to welcome her aboard the Edward Bonaventure, the ship of Muscovy. He sheathed his sword and I could see his infatuation of her. It was troubling to me, because, no matter her beauty, I knew her to be a knavish devil of dark curls and tanned skin, a woman of exotic nature, for what else can be said of her who keepeth the company of …show more content…
‘Tis lamenting to agree with her, but he could have fallen by her hand: her dagger was razored, already he suffered injury. Now his affection for her grew with every minute in her company. 'Twas not the best of circumstances. Although, duly sober, it was he who saw the flash of their deck guns. “Down all ye hands,” he shouted a warning. The danger had come again by way of a shot that smashed a belaying pin the closest to where I stood. Damn the squirrelly woman cur, for she escaped me yet again by leaping between the standing rigging. She jumped o’er the taffrail into the sea and be it of her own accord. No one pushed her and I could not reach her, hard as I may. My captain lunged in his effort to save her. A second shot fired off from their deck guns very near his head. “Man overboard,” he shouted and stood to his feet. I gave thanks to God that he be not scathed, that the shot had gone right by him. Our harquebusiers laid dead the threat and I helped him to look for her. But she was nowhere; we could not find her. Dismayed, he would have jumped to save her had I not stayed his hand. I would not let him do such a thing. He is John Cain, Captain of the Edward Bonaventure, not the saviour of drab hearts. Let her die in such a way. Let us leave her to the water’s depths, a more merciful plight than death by the Gallows’
“It was a large, beautiful room, rich and picturesque in the soft, dim light which the maid had turned low. She went and stood at an open window and looked out upon the deep tangle of the garden below. All the mystery and witchery of the night seemed to have gathered there amid the perfumes and the dusky and tortuous outlines of flowers and foliage. She was seeking herself and finding herself in just such sweet half-darkness which met her moods. But the voices were not soothing that came to her from the darkness and the sky above and the stars. They jeered and sounded mourning notes without promise, devoid even of hope. She turned back into the room and began to walk to and fro, down its whole length, without stopping, without resting. She carried in her hands a thin handkerchief, which she tore into ribbons, rolled into a ball, and flung from her. Once she stopped, and taking off her wedding ring, flung it upon the carpet. When she saw it lying there she stamped her heel upon it, striving to crush it. But her small boot heel did not make an indenture, not a mark upon the glittering circlet.
He wanted to swim through her blood and climb up and down her spine and drink from her ovaries and press his gums against the firm red muscle of her heart. He wanted to suture their lives together.? This quote can portray Johns disturbed mind set, we see that he is consumed with rage ...
out his lips, trying to gather back his pride, his anger, all that thunderclap he’d first come striding in here with” (296). Furthermore, she explains with her point of view of why he wants her to come with him, “Even as he said it, I could tell he didn’t want me, didn’t want me back on the farm, didn’t want me to be reminded of her. Another part of him –the good part, if there was such a thing–might even be thinking that I’d be better of here. It was all pride now, all pride. How could he back down?” *(297). It was only because of his pride that he did not want to leave her with the Boatwright’s.
and in her bosom I’ll unclasp my heart. and take her hearing prisoner with the force. and strong encounters of my amorous tale. Then, to her father, will I break? and the conclusion is, she shall be thine.’
Throughout his life... was a man self-haunted, unable to escape from his own drama, unable to find any window that would not give him back the image of himself. Even the mistress of his most passionate love-verses, who must (one supposes) have been a real person, remains for him a mere abstraction of sex: a thing given. He does not see her --does not apparently want to see her; for it is not of her that he writes, but of his relation to her; not of love, but of himself loving.
Wanting to escape the securities of home, Gertrudis is overwhelmed by her lustful passions. A soldier, not too far away, Juan, inhales the aroma of her desire and heads her way. "The aroma from Gertrudis’ body guided him…The woman desperately needed a man to quench the red-hot fire that was raging inside her…Gertrudis stopped running when she saw him riding toward her. Naked as she was, with her loosened hair falling to her waist, luminous, glowing with energy, she might have been an angel and devil in one woman…Without slowing his gallop, so as not to waste a moment, he leaned over, put his arm around her waist, and lifted her onto the horse in front of him, face to face, and carried her away…The movement of the horse combined with the movement of their bodies as they made love for the first time, at a gallop and with a great deal of difficulty " (Esquirel 55). This imagery is tremendous. Every sense that Esquir...
Zero awoke to find himself standing, it was not something he was familiar with and he searched his memory for any recollection of it happening before. Quickly he discovered that large parts of his memory were missing, gone were the seemingly endless data bases of information. Quickly he sent out feelers trying for a connection of some sort but he drew a blank. It seemed that where ever he was now, had limited connection capacity. Instead he used his visual feed to survey his surrounding, it appeared he was in some kind of desert of discarded parts.
...a and her response to it at the beginning of the fifth stanza. The speaker being “followed” by the sea shows its hunt after her. Repeating the pronoun “He” alerts us to her continuing terror after she escapes the immediate site of the vulnerability. The sexualized motions of the sea follows the speaker’s that signal a transformation from the sexual aggressor to just a responsive partner from the sea’s part. When the speaker’s sexual urges and energies awakened or started, they outstrip those of the previous aggressive sea and exceed them in enjoinment. The repetition of “he” serves to discriminate the speaker’s state of arousal from the sea. When the speaker defines herself in terms “ankle” and “shoes,” she domesticates limits the irresistible sea with only these two phrases “his Silver Heel” and “ Pearl” because she restricts the sea to rise higher that her ankle.
In Wide Sargasso Sea, Jean Rhys explored the origins of Bertha Antoinetta Rochester, the madwoman in the attic from Charlotte Brontë’s Jane Eyre. Reimagined by Rhys as Antoinette Cosway Mason, Sargasso Sea documents Antoinette’s troubled adolescence and her eventual descent into apparent insanity. Rhys’ choice to investigate the life of a character who was already doomed to a tragic end focuses the informed reader on the development of Antoinette’s madness, and a potential explanation for her inevitable fate. In this essay, I will investigate one key aspect of Antoinette’s fragile state, the complex ethnic identity she forms during her adolescence, particularly in regards to her childhood friendship with Tia, and how that confused identity relates to her tragic end. A victim of many circumstances beyond her control, Antoinette’s identification with both Black and White culture fractures her sense of self, alienates her from both, and is an important factor to how she is degraded by her husband. Between the upheaval of post-emancipation Jamaica and her own ever-changing social position, Antoinette finds herself, “caught between two cultures… but never able to identify fully with either.” (Kadhim 2011) This incomplete sense of self is incompatible with the world she lived in, and, in combination with her inability to control her own destiny, it informs her disastrous marriage and the eventual abuse and imprisonment she suffers from her husband, leading to madness, and her tragic fate.
Beauty’s sisters marry rich men, who seemingly have acceptably desirable attributes as husbands. One man is detailed as a man of good looks. The other man is noted for having great wit. The two possess qualities most women seek in a husband, but it is indicated in descriptions that the two sisters are both unhappy in their marriages. Although the first husband is handsome, this serves him as a drawback, for he is a narcissist, only concerned with himself. The second husband’s wit is also a severe disadvantage due to the fact he uses his wit to torment other people, including his wife. It is when Beauty reviews her sisters’ marriages and the unhappiness her sisters experience in relation to their husbands that helps Beauty realize The Beast’s true worth and her love for him: “I should be happier with the monster than my sisters are with their husbands; it is neither wit, nor a fine person, in a husband, that makes a woman happy, but virtue, sweetness of temper and complaisance and Beast has all these valuable qualifications.” (9). The juxtaposition made between the husbands and The Beast create the disclosure of the appropriate masculine qualities a man should encompass. De Beaumont presents the contrast of characters to the reader as a method of emphasizing the
The story of a sea rescue is portrayed as “heroic” and “an outstanding contribution to search and rescue” (Margaret, Linley). While off duty, a local officer assisted a boy back to shore after having been caught in a rip tide. His actions were valiant, as were the boy’s father, who died while trying to save his son.
When first reading this short story the character of an older woman comes to mind only to find later in an important passage “She was young, with a fair, calm face, whose lines bespoke repression and even a certain strength (Clugston, 2010, sec 2.1). This passage finally gives the reader a detailing idea of the woman in this story and defines her as a younger woman rather than an older one. This may l...
In actuality, she was defiant, and ate macaroons secretly when her husband had forbidden her to do so. She was quite wise and resourceful. While her husband was gravely ill she forged her father’s signature and borrowed money without her father or husband’s permission to do so and then boastfully related the story of doing so to her friend, Mrs. Linde. She was proud of the sacrifices she made for her husband, but her perceptions of what her husband truly thought of her would become clear. She had realized that the childlike and submissive role she was playing for her husband was no longer a role she wanted to play. She defied the normal roles of the nineteenth century and chose to find her true self, leaving her husband and children
The speaker paints a picture of his lovers’ uninspiring beauty. In the first quatrain by describing his, “mistress’ eyes” (Shakespeare 1) as they, “are nothing like the sun” (Shakespeare
The yarns of seamen have a direct simplicity, the whole meaning of which lies within the shell of a cracked nut. But Marlow was not typical (if his propensity to spin yarns be expected), and to him the meaning of an episode was not inside like a kernel but outside, enveloping the tale which brought it out only as a glow brings out a haze…. (Miller 68)