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The portrayal of women in 19th century literature
Female roles in early British literature
Essays on the victorian age
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Emily Augusta Patmore, née Andrews, was the inspiration for Coventry Patmore's iconic poem "The Angel in the House," both renowned and reviled for its depiction of the ideal Victorian woman. Some telling lines in the poem include "Man must be pleased; but him to please/Is woman's pleasure" and "she, too gentle even to force/His penitence by kind replies." Published in 1854, the poem paints a rosy picture of domestic Victorian life. It gained immense popularity in the years to follow, but became increasingly more controversial as western civilization uncertainly transitioned into an era of feminism and women's rights. Virginia Woolf, a 20th century English writer, notably mocked the poem by publishing her own work, a collection of essays entitled Killing the Angel in the House. Though the sentiments in the poem may be outdated now, it serves as a landmark, a reminder of how life was like for women during the Victorian era. Various other literary works published during the time also reflect similar themes, including Charles Dickens's bildungsroman Great Expectations, which charts the development of its main character but also follows women like Biddy and Estella, foils that seem like polar opposites at first but eventually both settle into their destined roles as domestic, inferior, Victorian women. Dickens's characterization of the alpha female Estella and the beta female Biddy in the novel Great Expectations reveals his misogyny and illustrates the Victorian theme that women are ultimately meant to be dominated.
When the characters are first introduced, Estella is depicted as Havisham's protégée — a beautiful but haughty girl who sadistically wields her power over men — while Biddy is portrayed as a poor, unkempt, obliging little...
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... as a compound of pride, avarice, brutality, and meanness" (513). Dickens tames Estella by pairing her with Drummle, someone who possesses Estella's negative traits, "pride," and "meanness," to a much higher extent. Though Estella possesses the qualities of an alpha female, she is still second to Drummle, the male. Drummle "uses [her] with great cruelty," and the word "uses" connotes that Estella is finally inferior, like she is now an object at Drummle's disposal rather than an independent person. Like mother, like daughter: Estella's "taming" also parallels Molly's. Molly, once wild and free, was tamed by Jaggers to become more submissive. Dickens' "taming" exemplifies that he does not believe that women can ever be independent. Though they may start out as such, they always come back to fulfilling their gender roles. As Dickens sees it, it is inevitable destiny.
After Estella defies Miss Havisham and breaks Pip’s heart by announcing her marriage to Drummle, “the spectral figure of Miss Havisham, her hand still covering her heart, seemed all resolved into a ghastly stare of pity and remorse” (Dickens, ). In this moment, several significant changes happen to Miss Havisham. For one, she sees the heartbreak and agony she experienced when she was left at the altar mirrored in Pip. Instead of feeling satisfied and healed, Miss Havisham’s pain is only deepened by her guilt. Many other things also backfire. Miss Havisham realizes the monster she created from Estella by filling her with only pride, not love, is her ultimate downfall. From this, her delusion is vanished as she sees the world for what it truly is with Pip as a mirror for seeing the wrong in her actions. Trying to redeem herself, Miss Havisham begs for forgiveness, helps Herbert Pocket, and leaves a fortune to Herbert’s father. These actions display maturity because she sacrifices her pride by begging for Pip’s forgiveness and giving away the weapon she used to enthrall people- money. Additionally, after Pip shows her grace even after experiencing Miss Havisham’s pain, it is possible that she could realize that she should forgive herself and everyone else too. By being able to overcome her pride and her unforgivingness, we can infer that Miss Havisham is able to move on from the
Miss Havisham passes along this jadedness to her adopted daughter, Estella, by teaching her to hurt boys and not become emotionally attached to them. Miss Havisham stays this was nearly until the end of her life when she realizes what she has done to Estella as well as Pip, whose heart was broken by Estella.... ... middle of paper ... ... In conclusion, in the novel Great Expectations, Charles Dickens points out that there are many people who are imprisoned within themselves.
In a period of despair and depression one gleam of light shone through the midst of darkness, Frank Baum’s classic work of fiction, The Wizard of Oz. In 1900, The Wizard of Oz was published. The late nineteenth century was hard on the average American worker, especially farmers. Droughts, tariffs and deflation forced farmers in an economic depression. They relied on railroads to transport their goods to the north, so the railroad companies took advantage of this and raised the prices. Not only that, but the government put high taxes and tariffs on their products. Farmers lost money. Frank Baum struggled too; The Wizard of Oz was his way of escaping the dark times. He wanted to produce happier fairy tale and make a new genre for children and young adults; writing The Wizard of Oz was his way of doing so. Baum wrote the novel during a time called the Populist Movement and many believe this influenced the plot. In a short time The Wizard of Oz flew off the shelves and spread quickly throughout America. The Library of Congress, the official library of the United States, recognized his achievement and that is why for years the novel has been selected for “The Books That Shaped America”, a list of books selected across the country by the Library of Congress. Frank Baum captured the hearts of the young and the old with The Wizard of Oz, yet what was supposed to be the new “sweet fairytale” turned into a controversial political scandal, making it an immensely popular, inspiring writers and young literature enthusiasts to produce similar works.
Woolf shifts from describing the process of writing to describing an obstacle. Woolf encapsulates the essence of female expectations by citing the Angel in the House. The Angel in the House references a narrative poem written in the nineteenth century to describe the ideal Victorian woman. Woolf illustrates the Angel in the House “as shortly as [she] can” in order to acknowledge her audience and to make her speech brief and comprehensible for the listening women. Through employing anaphora, Woolf explains, “she was intensely sympathetic...intensely charming...utterly unselfish…” These descriptions are standards for women which the Angel in the House embodied. Woolf expands the audience’s understanding of the Angel in the House by providing concrete examples of her self-sacrificing nature. This is juxtaposed with Woolf’s behavior; Woolf purchased a Persian cat instead of using her earnings to purchase something more practical. Her impractical tendencies are contrasted with the selflessness of the Angel in the House, outwardly depicting that Woolf challenged her expectations as a woman. Woolf employs profound imagery to describe her haunting by the Angel in the House, “The shadows of her wings fell on my page; I heard the wrestling of her skirts in the room.” Through appealing to both visual and auditory senses, Woolf develops the Angel in the House from a creation of her subconscious into a concrete being, which is how she viewed it. Woolf finds the Angel in the House so intolerable she kills it in an act of “self-defence,” claiming that the Angel in the House would have killed her if she had not killed her first. Woolf definitively states, “She died hard,” which is emphatic
Using dynamic character, Dickens establishes that Estella creates her own path to follow, disregarding the path of Miss Havisham's malice. Before meeting Pip, Estella would knowingly break men's
Dickens portrays Miss Havisham in a very unique way. There is a dramatic irony between Miss Havisham and Pip. It is ironic how she wanted to watch him become miserable, just because he is of the male gender, and ironically she grew to like him. She even paid for part of Pip's expenses for the partnership. Yet what is more ironic is that Miss Havisham does not praise herself for the good deed. In the beginning of the novel, Miss Havisham displayed a harsh, cold attitude toward Pip. This is displayed in her deceptive act on page 69, where she says, "Well, you can break his heart?" As the novel ends Miss Havisham's attitude completely changes. She realizes the pain she has caused Pip and apologizes to him. Because of her positive change, she becomes more likeable to the audience.
Ayres, Brenda. Dissenting Women in Dickens' Novels: the Subversion of Domestic Ideology. Westport, CT: Greenwood, 1998. 86-88. Print.
As his first contact with a wealthy person, Miss Havisham prompts Pip to try and better himself financially. She also, indirectly, pressures Pip into changing through her influence over Estella. Estella's cruel behaviour towards Pip is the direct result of Miss Havisham's teachings. Embittered by her own broken engagement, Miss Havisham taught the girl to be cruel to men, so she learned to "break their hearts and have no mercy!" (Dickens, 108.
meets Estella, the adopted daughter of Miss Havisham, an old lady who is bitter and eccentric. Estella
In the novel ‘Great Expectations’ there are three women who Dickens portrays differently to his contemporary’s, writers such as Austen and Bronté, and to the typical 19th century woman. These three women go by the name of Mrs Joe (Pips sister), Miss Havisham, and Estella. Mrs Joe who is Pips sister and Mr Joe’s wife is very controlling and aggressive towards Pip and Mr Joe. ‘In knowing her to have a hard and heavy hand’. This shows Dickens has given Mrs Joe very masculine qualities, which is very unusual for a 19th century woman. Mr Joe has a very contrasting appearance and personality to Mrs Joe. ‘Joe was a fair man, with curls of flaxen hair on each side of his smooth face, and with eyes of such a very undecided blue that they seemed to have somehow got mixed with their own whites.’ In many ways Dickens has swapped the stereo type appearances and personalities of 19th century men and women. Dickens portrays Miss Havisham to be rich but lonely women. ‘I should acquit myself under that lady’s roof’. This shows Miss Havisham owns her own property which is Satis House. This woul...
Estella is raised in a prosperous household and is judgmental of Pip because he is from the working class. She insults his appearance when she says, "But he is a common laboring boy. And look at his boots! (Dickens 45)" because he is not of the upper class. She also criticizes the way he speaks when he calls one of the playing cards Jacks instead of Knaves (Dickens 46). Dickens uses her negative comments about Pip’s appearance and use of slang to highlight the differences between the two classes. She also insults Pip with a comment calling him a “stupid, clumsy laboring boy (Dickens46)." Because of the differences between their classes, she instantly labels him as unintelligent because of the way she has been raised with uncommon people. Pip thinks about what Estella would think of his family and what Joe does to earn a living. Pip also contemplates how his sister and Joe eat dinner at the kitchen table and how
In order to make more money Pip’s uncle sends Pip to a psychotic old lady’s house named Mrs. Havisham. Mrs. Havisham is a mean and nasty character who constantly bickers at Pip and tells him of his unimportance. Pip continues to be mild mannered and respectful to Mrs. Havisham yet he begins to see that he will never get ahead in life just being nice. Mrs. Havisham uses Pip as sort of a guinea pig to take out her passion of revenge against men. She does this by using her daughter, Estella to torment Pip.
Adopted by Miss Havisham as a baby, Estella rises to a high social standing. Raised to be protected from Miss Havisham’s mistakes in love, she is trained to repress notions of romantic love. By “[stealing] her heart away and [putting] ice in its place,” Miss Havisham thus prevents Estella from gaining the ability to achieve true happiness in life. The true meaning and feeling of love is unknown to Estella. Condescension and insensibility to others is sowed into her being early on, and she only can become more incapable of loving as she matures. When Pip is hired to become her playmate, she revels in the opportunity to exercise her prowess. Encouraged by Miss Havisham, Estella hones her ability to break hearts with Pip, but he is only the first of the many destined to befall that fate.
During the gap between the years these stories were released, women were fighting a war for the cause of equality between all genders in regards to voting, equal pay, and fair treatment. Woolf shows in her writing that regardless of the social progress that was made during that time, it was far from over in regards to the way women lived their lives. Woolf’s story sheds light from the point of view of a woman who wants to stray away from the duties of being a stay at home housewife and focus on the life of an artist, or in this case, a writer. Woolf explains in the beginning paragraph of “Killing the Angel in the House” that there have been women to make significant impacts on the world of literature, but so few in comparison to those who were
In Great Expectations, Pip became elegant and educated for Estella, which succeeded, but failed to win Estella’s heart. Pip begins to feel conscious of his common beginnings and family to impress her, although he knows that Estella holds no feelings for him. Estella often tests his resilience with her verbal and mental abuse, particularly when “her eyes laughed mischievously” (101) at him. Pip obviously senses that Estella is not a compassionate person, yet he is still drawn to her. He wanted to gain her respect by rising to her own level through any means possible, even using an innocent friend like Biddy for his own selfish purposes. Pip decides “that the best step I could take towards making [himself] un-common ...