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The role of women in literature
The role of women in literature
The history of the portrayal of women in literature
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From the beginning of time woman have faced the difficult task of discovering her position in a “man’s world”. From a historical viewpoint, we can trace woman’s struggle back to Eve — the women who ate the forbidden fruit and from those actions left mankind to pay a huge price — to also the expectations of women from the beginning of time to be only confined to the domestic lifestyle of obedience. Females have been shunned from seeking higher knowledge because knowledge, as deemed by the male ego, is only for the male neurological capacity. The Bluebeard tales give life to the theory that women’s desperation for knowledge will lead them down the path to their demise. In each Bluebeard tale for example, the three wives in Angela Carter’s Bloody Chamber and the seven wives in …show more content…
Charles Perrault’s Bluebeard all set out to find the truth behind their husband mysterious past, which as mentioned, leads them to their tragic death. This leaves the women to face the competing friction between becoming the heroine that seeks the truth but face the judgment that she is a “wild woman” not fulfilling her obedient expectations, and the women that remains naive faces the fact that if something unfortunate is to happen they are ultimately to blame for their lack of knowledge. In order to combat these notions, woman should read the Bluebeard tales as a warning about marriage because the woman that knows the truth of her lover’s downfalls can establish her own values from those downfalls before committing herself to a marriage. Angela Carter’s The Bloody Chamber uses extracted content from the early tale of Bluebeard to bring the dark depths of marriage to the forefront. “I remember” establishes Carter’s novella as a distant memory much like how Charles Perrault begins his tale Bluebeard with, “There was once a man”(Carter 1)(Perrault). These opening lines establish no real time frame with any real time limitation, which allow the readers mind to run wild with these tales. The nameless heroine in The Bloody Chamber establishes herself in present tense looking back on her marriage to — the richest man in France — the Marquis. From the beginning of the novella, the heroine divulges in the fact that there are uncertain aspects of the marriage. The first of these uncertainties being that the marriage was for wealth not love. In an exchange between the heroine and her mother, the initial apprehension of both the mother and heroine are revealed when the heroine’s mother asks, “Are you sure you love him?’ To which the heroine replies, “I’m sure I want to marry him,”(Carter 2). From this interaction, the nameless heroine affirms her position in the marriage as being only for materialistic wealth and the mother establishes her reluctance. The mother’s hesitation of the marriage comes from the knowledge of being married once in which she gave up everything for love. And with that in mind this would be a point made for why women must read this version of a Bluebeard tale as a warning. The first warning must be to not marry a man for his materialistic worth, but for his love. If a marriages foundation is built on love then the marriage has a better chance of withstanding all trials. Where as a woman who marries a man for his materialistic worth never fully knows the depth of her husband's downfalls to which could lead to grave danger. However, an argument can be made that a woman who seeks a man for his materialistic wealth must reap the consequences of her choice. The foreshadowing of the young heroine’s dangerous fortune allows tension to develop from the beginning of the novella. Rather than establishing a traditional fairy tale setting with inhospitable living standards of a difficult home life and the opportunity for prince charming to save the damsel in distress, The Bloody Chamber captivates our attention with danger rather than the ultimate happy ending. The origin of this danger begins as the heroine leaves behind her previous simplistic life to embark on the unpredictable journey of marriage. As with any new wife there is a sense of excitement, expectation, and fear. An argument can be made that this excitement is blinding. The natural nature to question obscure signs is diminished by this excitement, which leads to the potential for corruption and manipulation from that vulnerability. For example, with such excitement of the glitz and glamour of the heroines new home (the castle), the tendency to question what the castle walls hold behind them subsides. But as the heroine soon realizes what lies behind the castle walls is not the glitz and glamour that appears on the outside, but the ominous fate of corruption. To gain a better sense of this corruption and manipulation, the major junction to the tale is when the heroine gains possession of the keys in which is of crucial importance. At first glance, the guardianship of the keys is seen as a major establishment of trust between the Marquis and heroine, but as soon realized it is the point of manipulation in the tale. The Marquis knowledge of his previous wife’s endeavors to overcome the curiosity of the forbidden room, sets in motions his manipulation tactic of giving the heroine the keys to the castle and along with it the key to the forbidden room, knowing the future outcome of such actions. To the reader's dismay just as her predecessors, the heroine falls into the trap and is overcome with curiosity to enter the forbidden room proclaiming, “I knew I had behaved exactly according to his desires,”(Carter 34). The opening of the forbidden room to “the bloody chamber,” which symbolically represents the opening of knowledge to the heroine and the inner sole of the Marquis — like metaphorically opening the chambers to her lover’s bloody heart. From this point of significance comes the cautionary warning of all Bluebeard tales in which a woman must know the secrets that lay behind her lover's heart in order to protect her from the dark depths of secrecy in a marriage. Dark secrets one holds from their lover in a marriage tend to be a trajectory catalyst heading for catastrophe. Jim Shepard’s modern day Bluebeard tale Pleasure Boating in Lituya Bay captures the dark depths of marriage with devastating secrets, which have the potential to inflict the ultimate betrayal, and the struggle for self-identity outside of the marriage combine. Through the duration of the tale the reader knows the devastating secret that the narrator is hiding — a vasectomy. On multiple occasions, the narrator has stated his wife looks to have another child, but he clearly states he has already made up his mind that he would not be interested. The narrator gives clues into his thought process that he worries he does not know himself well enough to be a good father which leads him to his life altering decision. He knows that this decision has the potential for a shattering effect on his marriage. He even mentions, “So for the last two months I’ve gone around the house like a demolition expert who’s already wired the entire thing to blow and keeps rechecking the charges and connections”(Shepard 321). Because of the narrator's struggle for self-identity, he looks to this decision as the only form of control over his life outside of the marriage combine. In many ways the narrator's struggle for self-identity stems from his wife. He identifies himself so much in her identity making refers many times to her “To Do” stating, “It makes me think she doesn't want me anymore, and the idea is so paralyzing and maddening that I loose track of myself”(Shepard 319). Shepard meticulously uses these merridale discrepancies as a warning to find your self identity and values before committing to a marriage where the need for a strong self identity is need to make two identities work cohesively together to avoid disaster: divorce. Shepard uses natural disasters, for example a devastating 8.3 earthquake and tidal wave, to symbolize disaster in the narrator's life and marriage. Two weeks after the narrator was born, the “greatest spasm … when it came to destructive energy, in recorded history” occurred (Shepard 316). This event symbolically foreshadows the life-altering secret the narrator hides from his wife. He places great emphasis on the damaging effects of the earthquake just as his detrimental secret posses. From this event, it seems as if his life would forever be on an altered path. He states that he is, “Mr. Glass Half Empty”(Shepard 319) giving insight into his internal conflict, which lead to the symbolic tidal wave of his life. As he struggles with self-identity and a deteriorating marriage, he realizes the accumulation of these issues is on the verge of reaching its peak. This leads to one of the crucial warnings that we must acknowledge in the Bluebeard tales that knowing the secrets of our lover’s tribulations can lead to finding our own individual values for marriage. On the contrary in Joyce Carol Oates short story Blue Bearded-Lover the nameless bride allows love to validate the darkness in her lover.
By obeying the obedient expectations of women and not entering the forbidden room of her lover she receives the ultimate honor of bearing a child — a significant achievement never obtained before. This is a substantial deviation from Angela Carter’s feminist take on the Bluebeard tale where the heroine looks to understand her lover and from her findings establishes herself. But as it seems, the manipulation of her Blue Bearded-Lover to not fall into the trap of her predecessors leaves room for the idea that she takes on the role of a heroine. However, Blue Bearded-Lover provides a crucial cautionary warning to woman to never let love validate the darkness in our lover. Not opening the door seems as if the bride loves her Blue Bearded lover but in actuality show the insufficiency of her love. A women who seeks to fully understand all characteristics of her husband establishes values in herself that lead her to love all aspects of her lover. Were as a women who turns a blind eye to her lovers dark secrets sets the destiny for her own precarious
fate. The mystery of ones ominous fate has always proved more compelling then pious behavior, which could be the potential reason why the Bluebeard tale keeps re-appearing in our culture. Another reason would be a merging of the Bluebeard tale into one elaborate contemporary story that is easily extendable to modern day readers. With the original content still intact but the essence of an innovative outlook the revised tales have managed to grasp our attention in a variety of ways. The Bluebeard tales leave behind their mark of a cautionary warning for woman to be aware. Do not let curiosity-kill-the-cat. Instead be bold in understanding you lover before the fateful leap is taken and do not let dark secrets lead you down a grim path when it can be prevented. Knowledge as displayed, is key.
In a world where the vast majority of cultures are patriarchal, in response to traditional structures, women often find themselves at war in their minds, hearts and in their own actions. 'Yellow woman' and 'The story of an hour' are examples of how women struggle in a male domintaed society. In these two stories, the women fnd themselves wrestling with thoughts and emotions that our society consider unacceptable. The following statements ,ay be asked and considered of these women:
Through her words and actions, the true nature of women was exposed; her story and “weakness” showcases what women’s innate nature corresponds to. Eve represents everything about a woman a man should guard against; she is the original sinner, and cannot be trusted in both form and symbol. The idea that her actions are not without warrant, and therefore she is a representation of us is, in fact, what has been propagated throughout hundreds of years. Eve is woman, and because of her, all women are by nature disobedient, prone to temptation, weak-willed. The connotations associated with womanhood, in turned have become, untrustworthy, deceitful,
Looking back through many historical time periods, people are able to observe the fact that women were generally discriminated against and oppressed in almost any society. However, these periods also came with women that defied the stereotype of their sex. They spoke out against this discrimination with a great amount of intelligence and strength with almost no fear of the harsh consequences that could be laid out by the men of their time. During the Medieval era, religion played a major role in the shaping of this pessimistic viewpoint about women. The common belief of the patriarchal-based society was that women were direct descendants of Eve from The Bible; therefore, they were responsible for the fall of mankind. All of Eve’s characteristics from the biblical story were believed to be the same traits of medieval women. Of course, this did not come without argument. Two medieval women worked to defy the female stereotype, the first being the fictional character called The Wife of Bath from Geoffrey Chaucer’s The Canterbury Tales. The second woman, named Margery Kempe, was a real human being with the first English autobiography written about her called The Book of Margery Kempe. In these two texts, The Wife of Bath and Margery Kempe choose to act uniquely compared to other Christians in the medieval time period because of the way religion is interpreted by them. As a result, the women view themselves as having power and qualities that normal women of their society did not.
Novels that are written by pronounced authors in distinct periods can possess many parallels and differences. In fact, if we were to delve further into Zora Neale Hurstons, Their Eyes Were Watching God, and Kate Chopin’s novel, The Awakening, we can draw upon many similarities. Now of course there are the obvious comparisons, such as Janie is African American and poor, unlike Edna who is white and wealthy, but there is much more than just ethnicity and materialistic wealth that binds these two characters together. Both novels portray a society in which the rights of women and their few opportunities in life are strictly governed, usually breaking the mold that has been made for them to follow The Cult of True Womanhood. These novels further explore these women’s relationships and emotions, proving that throughout the ages of history women have wanted quite similar things out life. Similarly they interconnect in the fact that the end of the stories are left for interpretation from the reader. Both these women in these novels are being woken up to the world around themselves. They are not only waking up to their own understanding of themselves as women and individuals that are not happy in the domestic world of their peers, but they are also awakening themselves as sexual beings.
The submission of women is demonstrated in the text through the symbolic colors of the couple’s bedroom. Indeed, as the young woman’s husband is asleep, the wife remains wide-awake, trying her best to provide the man with comfort, while enjoying her newlywed life. As she opens her eyes to contemplate “the blue of the brand-new curtains, instead of the apricot-pink through which the first light of day [filters] into the room where she [has]
In Charlotte Perkins Gilman’s bodies of work, Gilman highlights scenarios exploring traditional interrelations between man and woman while subtexting the necessity for a reevaluation of the paradigms governing these relations. In both of Gilman’s short stories, “The Yellow Wallpaper” and “Turned”, women are victimized, subjected and mistreated. Men controlled and enslaved their wives because they saw them as their property. A marriage was male-dominated and women’s lives were dedicated to welfare of home and family in perseverance of social stability. Women are expected to always be cheerful and good-humored. Respectively, the narrator and Mrs. Marroner are subjugated by their husbands in a society in which a relationship dominated by the male is expected.
From reading and analyzing the Blue Beard, the audience is taught that curiosity and disobedience can lead one into fatal situations . In addition, it also teaches the audience that material wealth should not be the main focus when one is choosing a suitable marriage partner. The personality and behavior of the person are most important.
Modern-day feminists state that there are many repressed attitudes and fears which keep women in a kind of half-light, forcing them to subconsciously retreat from the full use of their minds and creativity (Dowling, 595). The archetypal Cinderella is often criticized by feminist critics for waiting for something external to transform her life (Abel, 192). Contrary to this assumption, passivity is not prevalent in the original Brothers’ Grimm tale. However, actions performed by women in the tale are often associated with darkness. It is this overpowering association with the color black and its implications that truly keep women in a “half-light” in the tale.
In both Alice Walker’s “The Color Purple” and Kate Chopin’s “The Awakening”, we see that there are two types of women who arise from the demands of these expectations. The first is the obedient woman, the one who has buckled and succumbed to become an empty, emotionless shell. In men’s eyes, this type of woman was a sort of “angel” perfect in that she did and acted exactly as what was expected of her. The second type of woman is the “rebel”, the woman who is willing to fight in order to keep her creativity and passion. Patriarchal silencing inspires a bond between those women who are forced into submission and/or those who are too submissive to maintain their individuality, and those women who are able and willing to fight for the ability to be unique.
Overall The Bloody Chamber Conveys the message that women and men in society are still not viewed as equal. By rewriting the original fairytale Bluebeard Angela Carter has revealed explicitly that women can be as superior as men however Angela Carter challenges the stereotypical gender roles presenting an alternative ending, one that could be viewed as acceptable.
The ultimate act of consummation between a man and a woman is depicted by Wright as the deepest and most profound expression of pure love that can be mutually partaken in by two fellow human beings. Such an event involves truly uniting the opposite polarities of human existence, male and female, in a selfless act that plays a crucial role in Woman To Man’s underlying interpretation of the human condition. There is an almost animalistic and primal yearning ingrained in the human condition for physical union between a man and woman, as exemplified by the juxtaposed symbolism of the male “hunter” and his prize, the “chase”, that he seeks. Such an attitude towards the physical facets of sexual passion is reinforced by the polysyndeton of “the strength that your arm knows, / the arc of flesh that is my breast, / the precise crystals of our eyes”, highlighting the magnitude of the bodily pleasure derived from this unification. However, there are clearly deeper and more emotionally significant ramifications arising internally, with the combined amorous fervour between male and female capable of producing an even greater gift, that of new life. The result...
Many intriguing characters in literature are devised from the apprehension women have encountered with men in the institution of marriage. Although portrayed differently, marriage is perceived as a constraint to the protagonists. This has been presented very well in “The Way Up To Heaven” penned by Roald Dahl who blatantly critiques the accepted societal roles of women in the mid-twentieth century and “The Story of an Hour” by Kate Chopin who highlights a woman’s plight in the 19th century. This is not only painted through the events of the stories, but also through the way each protagonist evolves into a dynamic character. The two main characters in these stories show many similarities, but they are also remarkably different in the ways they deal with their problem to gain independence.
The short stories “Souls Belated” and “The Yellow Wallpaper” have in common ‘Marriage’ as main theme. However, the marriage is treated quite differently in both short stories. In "Souls Belated", Lydia chooses to take control of her destiny, to deviate from conventions and to choose what is good for her. She is the strongest character of the couple. Whereas, in "The Yellow Wallpaper", the name of the main character who is also the narrator of the story is not known. She is identified as being John’s wife. This woman, contrary to Lydia in "Souls Belated" is completely locked up in her marriage. This essay will first describe and compare the characters of Lydia and John's wife in the context of marriage, and then it will look at how marriage is described, treated and experienced by couples in these two short stories.
Traditionally, women have been subservient to men; they are still often subjugated, treated as objects, and are valued for their ability to reproduce. Since the beginning of society dating back to the Paleolithic age, in the hunter-gatherer societal system, men generally hunted and provided for the family, while the women gathered fruit and raised children at home. This brand of society has in a way persisted even until today; often women will stay at home and raise children while the man would be the one to “hunt,” or in today’s context, work and provide for the family. This puts the woman in a subordinate position as they are dependent on the man, often leading to women being treated as objects. These stereotypes contribute to the development of Lispector’s works.
“Girls wear jeans and cut their hair short and wear shirts and boots because it is okay to be a boy; for a girl it is like promotion. But for a boy to look like a girl is degrading, according to you, because secretly you believe that being a girl is degrading” (McEwan 55-56). Throughout the history of literature women have been viewed as inferior to men, but as time has progressed the idealistic views of how women perceive themselves has changed. In earlier literature women took the role of being the “housewife” or the household caretaker for the family while the men provided for the family. Women were hardly mentioned in the workforce and always held a spot under their husband’s wing. Women were viewed as a calm and caring character in many stories, poems, and novels in the early time period of literature. During the early time period of literature, women who opposed the common role were often times put to shame or viewed as rebels. As literature progresses through the decades and centuries, very little, but noticeable change begins to appear in perspective to the common role of women. Women were more often seen as a main character in a story setting as the literary period advanced. Around the nineteenth century women were beginning to break away from the social norms of society. Society had created a subservient role for women, which did not allow women to stand up for what they believe in. As the role of women in literature evolves, so does their views on the workforce environment and their own independence. Throughout the history of the world, British, and American literature, women have evolved to become more independent, self-reliant, and have learned to emphasize their self-worth.