Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
The Representation of Women in Romantic Literature
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: The Representation of Women in Romantic Literature
While reading the poetry of Sappho, it is clear that some poems might be read as having a strictly sexual interpretation; however, I much prefer to interpret her writings as more of a correspondence, mostly one sided, between her and the women with whom she interacted with daily. Some of those had left the town and were beyond reach. Sappho’s poems read much more like intimate notes to friends than risqué love poetry. She is a woman who writes for herself and for other women, much like Jane Austen did in the beginning of the nineteenth century. “Men have had every advantage of us in telling their own story. Education has been theirs in so much a higher degree; the pen has been in their hands,” says Anne Elliot, the protagonist of Persuasion (Austen 223). Austen wrote novels about women, and men, but the focus was more on the women’s lives and roles. She wrote novels that were meant to be read by women. In today’s society, the idea has arisen that Jane Austen books and the films based on them are “chick flicks,” and most men will refuse to read or watch them. From the scholars who write on Sappho, it seems that there is a generalized trend that male scholars tend to see her poetry in the more modern sense of the word lesbian, while female scholars make more allowances and believe her work to be more about communication and relationships between women.
Through our discussion in class on Sappho, I realized just how much her work reminded me of Jane Austen, and especially of the novel Persuasion. In the book, Anne Elliot was persuaded by her friend Lady Russell, an older woman who acted as a surrogate mother to Anne, not to marry Frederick Wentworth. The novel begins eight years later when Wentworth’s sister and brother-in-law rent o...
... middle of paper ...
...its onset, and both authors address it.
Though several thousand years separate Sappho and Jane Austen, there are definitely connections between the two women as expressed in their poetry and novels. Part of the reason for this connection is because this is the way that women write about love. Men and women inevitable think differently about life, and especially about love. Though I believe it is possible for a man to enjoy an Austen book or film, I have yet to meet one who can actually read or sit through the entirety of one. Men do not appreciate Austen, and while I am sure that there certainly are men who can at least appreciate the beauty or poetics of Sappho, I do not believe that most men can fully grasp and feel what Sappho’s poetry really is all about in the same way in which a woman can because they do not think about love or relationships in the same way.
Fowler, Karen J.Introduction. Persuasion. Jane Austen: The Complete Novels. By Jane Austen. New York: Penguin, 2006. 1091-1231. Print.
Eupriedes, Medea and Sappho’s writing focus on women to expose the relationships between a variety of themes and the general ideal that women are property. The main characters in both pieces of literature demonstrate similar situations where love and sex result in a serious troll. These themes affected their relationship with themselves and others, as well as, incapability to make decisions which even today in society still affects humans. Headstrong actions made on their conquest for everlasting love connects to sacrifices they made to achieve their goal which ultimately ended in pain. Love and sex interferes with development of human emotions and character throughout the course
In Pride and Prejudice, Elizabeth Bennet’s journey to love and marriage is the focal point of the narrative. But, the lesser known source of richness in Austen’s writing comes from her complex themes the well-developed minor characters. A closer examination of Charlotte Lucas, Elizabeth’s dear friend in Pride and Prejudice, shows that while she did not take up a large amount of space in the narrative, her impact was great. Charlotte’s unfortunate circumstances in the marriage market make her a foil to Elizabeth, who has the power of choice and refusal when it comes to deciding who will be her husband. By focusing on Charlotte’s age and lack of beauty, Austen emphasizes how ridiculous and cruel marriage can be in this time.
Grey, J. David., A. Walton. Litz, B. C. Southam, and H. Abigail. Bok. The Jane Austen Companion. New York: Macmillan, 1986. Print.
who would do anything for the children and the Medici families. They were loving wives as well, but supported their husbands in different ways. Lucrezia supported her husband politically, because he was ill and unable to govern to his full potential sometimes (Young, 107). In comparison to Contessina, who supported her husband emotional, by pleasing him with her house management skills. Their letters clearly illustrate their different personalities, and help historians and readers get a good sense of the change in women emerging in the renaissance.
Austen’s Pride and Prejudice is well-noted for its ability to question social norms. Most importantly, Austen explores the institution of marriage, as it was in her time, a time where many married for security rather than love. Her characters Elizabeth and Charlotte are renowned even more for their outspoken nature and different views on marriage. Though both Elizabeth and Charlotte yearn for a happy marriage, Charlotte has a more pragmatic and mundane approach while Elizabeth is more romantic and daring with her actions. Through the romantic involvements of both Elizabeth and Charlotte, Austen shows that happiness in marriage is not entirely a matter of chance, but is instead contingent on an accurate evaluation of self and others Elizabeth’s view on Jane and Bingely’s relationship is more hopeful, while Charlotte possesses a more aggressive view.
Antigone asks Ismene, her sister, if she recognizes how Zeus fulfills them as they live the curse of Oedipus. Although this idea of fulfillment manifests itself specifically in the tragedy of Ismene's and Antigone's radical behavior, the myth also serves as an archetypical model of a woman's position in society, and its patriarchal elements. The influence of Oedipus' curse over his daughters, whether mythological or directly familial, lingers in the ethos of psycho-sexualized European mores. Culturally, this notion characterizes masculinity as being `large and in charge,' the provider and protector; thus, femininity necessarily involves a certain subservience. Such ethos associates femininity with certain gender roles. The story of Oedipus and his daughters, therefore, highlights the overshadowing efficacy of the male presence and it's effects on the female psyche. For instance, Jane Austen's Northanger Abbey, Emily Bronte's Wuthering Heights, and William Shakespeare's Much Ado About Nothing, each paint a picture of the feminine gender role, which predominantly consists of becoming a proper wife, so as to secure a husband, or mother, so as to produce his heir. Essentially, the occidental woman of this period is confined to a life of marriage. In such a patriarchy, what happens to an Antigone, a vicious rejection of all social conventions? And to an Ismene, a passive surrender to patriarchy's nomos? A woman's relationship to society's oppr...
Evaluate and respond to the presentations of women in the Romantic period. Feel free to discuss presentations of women, by women (such as Austen’s Persuasion) as well as presentations of women by men (such as the “she” in Byron’s “She Walks in Beauty”). Consider the following questions: are these presentations problematic? What do they tell us about the values and briefs of the Romantic Period? Do any of these presentations subvert (complicate, or call into questions) the time’s notions of femininity?
Before the major upheaval occurs Jane Austin gives us a glimpse of what social life, the class distinction, was like through the perspective of Ann Elliot. Ann is the second out of three daughters to Sir Walter Elliot, the proud head of the family (Austen, 2). The Elliots are an old landowning family that seems well known in the upper echelons of British society. The most important piece of background we are presented with as central to the plot of the story is that eight years prior to the setting Ann was engaged to a man she loved, Frederick Wentworth. They were soon engaged, but her family along with mother-like figure, Lady Russell, soon persuaded Ann that the match was unsuitable because Frederick Wentworth was essentially unworthy without any money or prestige (Austen, 30). This piece of background echoes exclusivity among the upper classes of Britain. In that time it would seem unacceptable for a girl like Ann with a family like hers to marry or even associate with someone not of ...
The heroine, Anne Elliot, is a 27-year-old "old maid," who devotes her life to caring for the needs of her family and friends. In the bloom of youth, her sense of duty to her mentor Lady Russell and her family compel her to decline marriage to Frederick Wentworth, the man she loves. Although an officer in the British Navy, Wentworth lacks the wealth and rank in society that is highly esteemed by Anne's associates. Austen's novelistic treatment of her characters means that as readers, we get to know them. The length of the novel allows for pacing. Austin can fully develop her characters and show them in many circumstances, in different contexts over time, a method that helps to flesh out the characters. For example, we observe Anne Elliot, dwarfed by the selfish concerns of her father and sister Elizabeth while at Kellynch Hall and Anne's lack of crit...
In the early 1800s Jane Austen wrote what would be her last novel, Persuasion. Persuasion is set during the “Georgian Society” which greatly affects the character's views and actions throughout the novel. Anne Elliot and Frederick Wentworth quickly fell in love when Anne was just nineteen years old, but because he wasn't wealthy enough, Anne was not given the permission by her father, Sir Walter, to marry him. Eight years after this incident, the roles have reversed; Sir Walter has lost all of his money and Frederick Wentworth is now known as Captain Wentworth. Throughout the novel, Anne tries to overcome struggles with social class in order to fulfill her longing of being with Captain Wentworth. Therese Anderson's statement about the foundation of society in “The Importance of Class and Money” justifies the actions of those in Persuasion. “Marx argued that the real foundation of society was the economic structure, that political and legal superstructures rose from this... it is on the contrary their social existence which determines their consciousness” (1-2). Sir Walter focuses only on the economic factor which is what creates his narcissistic personality. Because of Captain Wentworth's lack of social class, Anne Elliot is unable to further her love and commitment for him. Jane Austen uses heavy irony throughout the plot line to show that there is no correlation between the amount of money one has and their quality of love.
Romance writers and readers are themselves struggling with gender definitions and sexual politics on their own terms and what they may need most from those of us struggling in other arenas is support rather than criticism (p. 76).
For thousands of centuries literature has been used as a clever device to show the negative outlook in which society has on women at that time. The common theme of men exploiting women for personal gain and using their heavy-handed power to make women feel inferior can be seen in writings from the ancient Greeks all the through authors of the 20th century. Writers and intellectual thinkers such as Plato, Peter Abelard, Fyodor Dostoevsky, Henrik Ibsen, and even women such as Virgina Wolfe, and Fatima Mernissi have all written about the struggles caused by domineering men which women have fought against for so long. It is not until the late twentieth century that we see a positive almost spiritual view of women from the stories told by Gao Xingjan in his book One Man’s Bible. The 1994 publication of Fatima Mernissi’s memoirs of her girlhood in a harem spoke powerfully in favor of women shedding prescribed gender roles in favor of embracing their own identities. It is books such as Fatima’s and Gao’s which will help carry out feminist movements into the 21st century.
As a culminating prose classicist, Jane Austen has acquired an abiding place in English literature. Austen’s first novel was not published until she was thirty-five, however she wrote three volumes of juvenilia before the age of eighteen (Jane Austen). “Her career is generally divided into an early and a late period, the former encompassing the juvenilia, as well as Sense and Sensibility, Pride and Prejudice (1813), and Northanger Abbey (1818), the latter including Emma (1816), Mansfield Park (1814), and Persuasion (1818). They are separated by a hiatus of eight years.” (Jane Austen). There is an uncustomary viscosity in the work of the early and late periods; pronounced by a certain mollifying of tone in her later works. Though the literary art of Austen is outstanding, the facts of her biography, at first glance, are not. The foil has captivated readers and scholars, and engrossment in her life is today almost as appetent as interest in her works. “Dating back to her own time, when Austen's first four novels were published anonymously, sources of information about her life still exist — some of her letters (those her sister Cassandra did not destroy after her death), and A Memoir of Jane Austen, written by her nephew J.E. Austen-Leigh in 1869.” (PBS). These sources divulge the Jane Austen did portray the reserved life of an unmarried clergyman’s daughter. She found primary reinforcement for her art within her family circle and a foundation for her novels in her personal and family history.
Fergus, Jan. “Biography.” The Cambridge Edition of the Works of Jane Austen. Ed. Janet Todd.