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The narrative, Dealing with Dragons, written by Patricia C.Wrede, the author discusses how a princess named Cimorene, runs away, or better yet, liberates herself from the torment of the “proper” Medieval society. Certainly, Cimorene is an outrageous character, who just simply does not settle for anything less than perfection. For this reason, she thrives for a better life, full of adventures. Cimorene was justified in ignoring the expected social norms of Medieval society because, it is in her best interest to escape women's’ unequal rights among the society, have the freedom at her own will in the activities and studies she does, and be able to gain knowledge in an unusual field, that many humans do not know about, life with belligerent …show more content…
dragons. Cimorene was justified in ignoring the norms of a Medieval Society because, women, in the basis of a normal society, were not given equal rights.
For example, Cimorene was told who she would marry, and her input would not be considered when it came down to who the prince would be. Cimorene’s mother states, “‘Proper or not, you will marry Prince Therandil three weeks from Thursday”’(8). This shows that Cimorene, as well as other women, do not have any rights to object in who they will marry. Furthermore, this demonstrates how Cimorene will have to marry the dreaded Therandil, on the day of her father’s choosing, and would not be able to manipulate what happens. Another example of how women are considered to be of a lower status than men is, when Cimorene is told by her parents that no man would want to marry a woman like her. The text explicitly states, “Her parents were quite sure that no prince would want to marry a girl who could look him in the eye instead of gazing up at him through her lashes.” This explains how a man does not want a woman to have as bold of a character as himself. Additionally, this portrays how Cimorene is different from most women, and is just as confident as any man, however, most men or princes do not approve of women being at the same level as them. Plus, Cimorene could even be considered as an advocate for seeking equal rights for women, and eventually help suppress men having domination over women. Overall, it is evident that Cimorene is not …show more content…
treated at the same standard as men, and will never have the rights of her own will in the large kingdom of Linderwall. In addition to women not having equal rights, by escaping the Medieval society, Cimorene will be able to have free will in choosing the activities and studies she wants to pursue. One example is how Cimorene wants to take fencing lessons, something that most princesses are not interested in. In the book, it states “As she got older, she found her regular lessons more and more boring. Consequently, the fencing lessons became more and more frequent”(2). This emphasizes how Cimorene finds no excitement in doing princess activities, and focuses on how she would rather do activities that reflect what men desire to do. Moreover, this focuses on how Cimorene wants to learn more about enjoyable activities in which she concentrates on, rather than the studies that bore her. Another example of how Cimorene is bored, is by the way the author gives the reader incite to Cimorene’s mind, which shows how all of her studies at the castle are recurring.The author states, “The same thing happened over the Latin lessons from the court philosopher, the cooking lessons from the castle chef, the economics lesson from the court treasurer, and the juggling lessons from the court minstrel. Cimorene began to grow rather tired of the whole business”(4). This demonstrates how all of the studies that Cimorene is doing in the castle is forced upon her, irrelevant at the time, and in general, just boring. Also, Cimorene is exhausted by what is expected of her to learn, and believes that her curriculum is a waste of time. To push the purpose of how Cimorene is ethical in leaving the castle is because she will also have the opportunity to gain knowledge of an unusual field that most humans would not have interest in, Dragon livelihood.
One example of how Cimorene is going to learn while living with the dragons is when she is given her first job of sorting the dragon's treasure. The text states, “She was not going to have to marry Therandil, and sorting a dragon’s treasure sounded far more interesting than dancing and embroidery”(21). This demonstrates how Cimorene is capable of learning more while living with the dragons, than she ever would have back at Linderwall. Not only will she “enjoy” her studies, she will be interested in learning more and more, evidently stretching her mind. Another example of how Cimorene is gaining knowledge is by the way she does not know any magic, but later is able to recite a fireproofing spell. Early in the book, it states, “She was even going to learn some magic!”(21). However, it later states in the book, “...Cimorene got out the spell and the ingredients she had collected, and she and Alianora spent the next hour on various necessary preparations”(124). This indicates that Cimorene, over the time that she has been living with the dragons, she has been able to pursue the studies in which she was not able to learn about at the castle. Moreover, it is obvious that Cimorene has the independence to do what she wants, something she had always long for. Equally
important, Cimorene has developed a love for the dragons, which has made her more astute in everything she does.Nevertheless, Cimorene will even be able to learn about dragon history. The text states, “It helped that she found the book fascinating. Dragon history was not a subject commonly taught to princesses”(75). This shows that Cimorene is learning upon a different collection of studies that most princesses are not taught about. Moreover, there is no better way for Cimorene to excel in learning about dragons, considering that she is living with them. In all, Cimorene is going to advance through her studies with the dragons, more than she ever would at Linderwall. In sharp contrast, others believe that Cimorene should have followed proper princess guidelines, such as, staying in the large kingdom of Linderwall. This is controversial because, if anything, Cimorene would be required to accept all of the normal Medieval society rules. This is not a fair claim, due to Cimorene,’s aspirations to do more than an average princess. Furthermore, no princess would accept the low standard in which Cimorene was treated at the castle, and how she was always told what she could and could not do. Proper or not, Cimorene always had a side that was different than normal princesses. For this reason, Linderwall did not support her needs. As a final point, Cimorene has the utmost right to leave the kingdom of Linderwall and ignore the expected social norms of the Medieval society based upon her extraordinary personality, likings, and abnormal character traits. Besides, it is apparent throughout the story that Cimorene is an outgoing, tomboyish character who simply wants to live her own life. She is confident in all of her actions, whether they are or are not proper. Cimorene simply does not care about what others portray her as, and has no problem that she is considered to not be a normal princess. If anything, Cimorene takes fun of ignoring what is expected to her, and insists on her way. Altogether, Cimorene is not proper in the setting at the kingdom of Linderwall, but finds her true home while living with the dragons.
In the beginning of the play all aspects of society come together to the theater which involves the poor and the richest people. There’s were Roxane first saw Christian and she was immediately attracted to his looks, she’s just like society is quick to judge looks over personality, completely under minding Cyrano. Roxane tells Cyrano about Christian beauty in Act two Scene five Roxane said “His face shines with wit n intelligence, He’s proud, noble, young, fearless, and handsome.” This shows that she’s completely blinded by his looks! Society will describe Christian just like Roxane but will have different aspects of him. She’s saying that Christian is a bright person judging him by the way he looks. Roxane starts to look for Christian by letting Cyrano know that he is part of his regiment. In Act two Scene five Roxane said “ And it s happens, cousin, that he’s a member of your regiment.” Roxane had just seen Christian once and she already knew who he was and what he did....
Traditional female characteristics and female unrest are underscored in literary works of the Middle Ages. Although patriarchal views were firmly established back then, traces of female contempt for such beliefs could be found in several popular literary works. Female characters’ opposition to societal norms serves to create humor and wish- fulfillment for female and male audiences to enjoy. “Lanval” by Marie De France and “The Wife of Bath’s Tale” by Geoffrey Chaucer both show subversion of patriarchal attitudes by displaying the women in the text as superior or equal to the men. However, “The Wife of Bath’s Tale” also incorporates conventional societal ideas by including degradation of women and mistreatment of a wife by her husband.
In the first part of the novel, he emulates his father, by being deaf to women's wisdom and women's needs, and casually disrespecting the women he should most respect. He chooses to stray from his father's example and leaves town to obtain his inheritance and to become a self-defined man. From Circe, a witch figure, he is inspired to be reciprocal, and through his struggle for equality with men and then with women, he begins to find his inheritance, which is knowing what it is to fly, not gold. At the end, he acts with kindness and reciprocity with Pilate, learning from her wisdom and accepting his responsibilities to women at last. By accepting his true inheritance from women, he becomes a man, who loves and respects women, who knows he can fly but also knows his responsibilities.
She came from modest nobility and ended up cooking and cleaning for all the men who owned her, completing “menial tasks that a romance heroine would never undertake” (Lynch 42). The status of her virginity demonized her. Romantic heroine’s insides are often reflected on the outside. They are beautiful because of their virtue, so “Cunegonde’s ugliness [suggested] her lack of it.” (Lynch 43). Even though her virginity was forcefully taken, she suffered the consequences of being a loose woman. She was bought and sold into slavery. The skills she learned were tools for survival. Besides using her body, she was able to take care of a home. It was unfortunate because becoming a cook “[seemed] to redeem her ugliness somewhat” (Betts 287). Voltaire was commenting on the limits options for women in the eighteenth century. They could either be a wife or mistress. Cunegonde had to perform both roles with just her optimism to keep her going; ““it seems justifiable to say that her final destiny as the supplier of appetizing food parallels her ability to arouse sexual appetite” (Betts
A major concern in both the film and the original text is the ‘status of women’. This is represented through the differing roles of women and their denigration within the Elizabethan society. For instance, Hero is accused of committing infidelity; consequently her image in society is tarnished, In addition to this, Claudio insults Hero publicly without even considering confirming the accusation of her being unchaste. This is illustrated through Claudio slandering Hero through the use of usage of Greek Mythological allusions “You seem to as Dian in her orb, but you are more intemperate than Venus in y...
Yet, despite the fact that no two women in this epic are alike, each—through her vices or virtues—helps to delineate the role of the ideal woman. Below, we will show the importance of Circe, Calypso, Nausicaa, Clytaemestra, and Penelope in terms of the movement of the narrative and in defining social roles for the Ancient Greeks. Before we delve into the traits of individual characters, it is important to understand certain assumptions about women that prevailed in the Homeric Age. By modern standards, the Ancient Greeks would be considered a rabidly misogynistic culture. Indeed, the notoriously sour Boetian playwright Hesiod-- who wrote about fifty years before Homer-- proclaimed "Zeus who thunders on high made women to be evil to mortal men, with a nature to do evil (Theogony 600).
Bloch, R. Howard. Medieval Misogyny and the Invention of Western Romantic Love. Chicago: U of Chicago P, 1991.
As a result, these characters have significant religious meanings and serve as a form of inspiration to other women. This would mainly apply to those women who were in attendance. This would include women of all classes that simply wanted to watch a play. Their limitations amongst society can also be noticed by the amount of education that they are entitled to. Plato’s Republic mentions how the role of women is determined by the status of their spouse.
From the Classical age through the medieval age, women were greatly disrespected. They did not have any say in anything and were not appreciated. In Classical texts such as The Odyssey, the women were treated as if they were animals. They did not have the respect of others and some were thought of as whores. In the stories of Erec and Enide, Lancelot, and Perceval, we see a dramatic change in this, due to the system of government that Arthur entails giving them the freedom and rights they deserved. The new man to woman relationship brought about in these stories is very different then the past stories we have read from the classical age. This system gave great honor and respect to women, which became part of the chivalric code that was followed by the knights and royalty of that time. The courtly relationship between man and woman is the theme created throughout the stories in the Arthurian Romances. The ideas of courtly love and chivalry are summarized in these stories. We see many instances where knights go out of their way to please their woman. Once a knight chooses his woman, she thought of as his chattel, or property. He can do what he pleases with her and she must listen to him or possibly be killed. He respects and loves her as long as she is loyal and faithful to him. If someone were to interfere in his or her relationship, they would fight ‘til death or until someone begs for mercy.
As a man fascinated with the role of women during the 14th Century, or most commonly known as the Middle Ages, Chaucer makes conclusive evaluations and remarks concerning how women were viewed during this time period. Determined to show that women were not weak and humble because of the male dominance surrounding them, Chaucer sets out to prove that women were a powerful and strong-willed gender. In order to defend this argument, the following characters and their tales will be examined: Griselda from the Clerk's Tale, and the Wife of Bath, narrator to the Wife of Bath's Tale. Using the role of gender within the genres of the Canterbury Tales, exploring each woman's participation in the outcomes of their tales, and comparing and contrasting these two heroines, we will find out how Chaucer broke the mold on medievalist attitudes toward women.
“The Knight’s Tale”, for example, uses the concept of a knight not only to parody the concept of the hero, but also to question the well-established courtly love convention. This last concept refers to a set of ideas about love that was enormously influential on the literature and culture of the medieval times for it gave men the chance to feel freely. Also, it gave women the opportunity to be an important element in the story – not only decorative. However, when scrutinizing the tale, the readers can realise that all the aspects of a knight’s love are exaggerated and conveyed throu...
Hermia has been promised to Demetrius by her father; however she is unwilling to marry him as she is in love with Lysander. We are introduced to this theme when they visit Thesus, the figure of authority in the play, who makes it clear that women are not to have their own identity, but instead are to be ‘a form in wax’ (I.i.49), meaning that women are to exist without existing. Women were not allowed to gain an education, or have jobs of importance. This shows that Thesus (Duke of Athens) doesn’t believe that women show have power. However, in the forest, Hermia exerts her dominance over Lysander as she insists that he ‘lie further off’ (II.ii.43) so she can keep her virginity as she is less likely to be tempted into having sex with him. At the time a woman who had lost her virginity before she was married, especially to someone whom she was not betrothed, was a social sinner
Despite the fact that this lady was supposedly untouchable due to her status as “taken” this man or rather knight made it his mission to win her over or it was his mission to please her. This Knight would go to great lengths sometimes setting into long journeys, battling other knights and going into chivalric adventures in what is known as the other world. This knight or the courtly lover is like a slave to this passionate, romantic love for example in the tale “Le Chevalier de la charrette”, a courtly romance whose hero obeys every imperious and unreasonable demand of the heroine. A slave willing to put his own life at risk in order to show his love and passion for this one woman. For example, In “Lancelot, the Knight of Cart” Lancelot first part is a physical quest though driven by love, the knight tries to rescue Guinevere. However, once he finds her, he does not stop, he continued to quest in order to deserve her love. Even after they consummate their relationship in the tower, he must continue to do her bidding, suggesting that the quest for love never ceases. We see this untouchable love through his love and adulterous feelings for the queen, Lady Guinevere, this lady made untouchable through her marriage to King
In the 16th century, women and men were defined as having specific and contrasting roles within society. Men were defined as being powerful and dominant while women were defined as being submissive and meek. These ideals can be seen across cultures and throughout time. With these definitions of gender roles in place, the text suggests that gender is a social construct therefore qualities of femininity and masculinity are subjective. This is shown when Portia cross dresses as the lawyer Balthazar (IV) and when the truths of the rings are discovered by the two women (V). The strong female characters in the play exemplify that women are not confined to their social construct as they manipulate the male characters. During the 16th century only
The Damsel has spanned throughout history as a popular archetype in literature, movies, and music. Through these forms of entertainment, The Damsel is portrayed as naïve, innocent, and feeble. In media, she eagerly awaits to be rescued and protected by a handsome prince, and live “happily ever after.” The Damsel has potential for greatness, yet only realizes it when guided by a prince. In addition to the naïve feebleness of The Damsel, the archetype originally symbolized purity, kindness, and an immunity to the taint of evil. In relation to romance, the light attributes of The Damsel encourages her to rely on herself, and recognize the qualities of a healthy romance. The shadow attributes of The