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George eliot middlemarch essays
Ts eliot poem analysis
George Eliots moral vision in Middlemarch
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Rosamond Vincy: porcelain doll, actress or well-rounded character?
Throughout George Eliot’s Middlemarch, a young woman, Rosamond Vincy, is constantly being observed. The citizens of Middlemarch see Rosamond as a flawless specimen of womanhood whereas the narrator sees her as malicious and manipulative. Is Rosamond faultless or wicked? A third alternative exists: she is neither. Miss Vincy on the surface appears perfect, yet upon further examination one can see that she is flawed and unintentionally manipulative. Rosamond manipulates the way others see her, yet she is unaware that she is doing so. Rosamond is not only a pretty face but a fully developed character with her own faults, strengths and desires and should not be written off as simply
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While others in the novel point out Rosamond’s goodness, the narrator points out her flaws. An example of this can be seen in the passage while Lydgate is looking at Rosamond. The narrator does not speak about what Lydgate is feeling when he looks at Rosamond or how beautiful she is, instead they imply that Rosamond is manipulative. In an aside the narrator states, “Every nerve and muscle in Rosamond was adjusted to the consciousness that she was being looked at,” (Elliot 109). In this line the narrator the narrator infers that Miss Vincy is fake, in the sense that she puts forward a façade for other people to see. It is suggested that Rosamond is manipulating others by changing herself when they are watching. The narrator further implies this by saying, “She was by nature an actress of parts that entered into her physique,” (Elliot 109). By comparing her to an actress, the narrator insinuates that Rosamond is pretending to be something she is not. The citizens of Middlemarch see perfection and beauty, while the narrator sees manipulation and …show more content…
She changes the way others see her and feel about her by adjusting her actions and appearance. This however, is not done maliciously; it is done unintentionally. While perhaps the narrator is not fond of Rosamond, they reveal something about her character that undermines their view that she is malevolent. The narrator compares Rosamond to an actress yet they then reveal, “she even acted her own character, and so well, that she did not know it to be precisely her own,” (Elliot 109). This line reveals that even though Rosamond manipulates others, that she is unaware she is doing so. An example of this is when Rosamond flirts with Mr. Lydgate it is because she cannot help herself; her feelings for Lydgate change the way she acts around him. When Lydgate hands Rosamond her whip, she, “blushed deeply and felt a certain astonishment,” (Elliot 109). While blushing can be seen as a sign of affection, it is an involuntary bodily function that Rosamond could not control. Miss Vincy is not an actress since her “act” is unconscious. She changes herself for others, adjusts every nerve, yet does not do it intentionally.
Throughout Middlemarch, Rosamond Vincy is speculated upon: the citizens of Middlemarch see her as perfect while the narrator sees her as manipulative. In some ways she is judged too harshly by both the narrator and the Middlemarchers. Rosamond is neither perfect nor manipulative, she is a flawed yet
She knows that they picked cotton in North Carolina before coming north a short time before she was born in Washington but she doesn 't know much else. As the firstborn girl Rosa Lee’s role was set by the Southern traditions. For the older daughter, her mother is so dependent on her account in the household that the younger ones will have opportunities that Rosa Lee never had. Most of Rosetta’s other children don’t share the same views of their mother as Rosa Lee. They remember her as a woman working hard to keep her family together under difficult conditions. While Rosa Lee was still in the early years at Giddings Elementary school, her smoldering resentment caused her to silently reject her mother 's vision of her future she was determined that domestic work was not going to be the way she survived. Rosetta gave birth to twenty-two children some of them died before reaching adulthood. Rosa Lee became accustomed to bedrooms crammed with too many people and living rooms with no room for private conversation (Dash,
For a seemingly sweet elderly lady, the readers would not have imagined her to be a bully or even a slight bit of rude for that matter. However, little did anyone know that Miss Strangeworth was hiding an unbearable secret. The cruel letters she writes to people in her town, the way she goes about them, and her love for writing them proves that she is very much a bully. Miss Strangeworth is one of the reasons why people should watch out for who they
...e relationship with men, as nothing but tools she can sharpen and destroy, lives through lust and an uncanny ability to blend into any social class makes her unique. Her character is proven as an unreliable narrator as she exaggerates parts of the story and tries to explain that she is in fact not guilty of being a mistress, but a person caught in a crossfire between two others.
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.
This is a main factor in how, and how well, we discern the good from the bad and has everything to do with Robert’s differentiation between the anticlimactic and the irrevocable. A part of the anticlimactic is an inability for all of the pieces to come to a single point. If one’s background is different from another’s, then the pieces will come together or fail to converge, depending. Some readers pick up right away that Rosalind is a sociopath, while others are unshakably convinced the moment that she enters the stage. If one does not have the right background, the very thing that allows us to interpret this piece of literature, one will suffer from a lessened ability to discern good from bad; true from untrue; and yes, anticlimactic from irrevocable.
Vivian is characterized as a smart, sly, but not necessarily noble woman. In the end, it appears that Marlowe respects, but does not care for her. She is a...
Nearly every character in the play at some point has to make inferences from what he or she sees, has been told or overhears. Likewise, nearly every character in the play at some point plays a part of consciously pretending to be what they are not. The idea of acting and the illusion it creates is rarely far from the surface - Don Pedro acts to Hero, Don John acts the part of an honest friend, concerned for his brother's and Claudio's honour; Leonato and his family act as if Hero were dead, encouraged to this deception by, of all people, the Friar who feels that deception may be the way to get at truth; and all the main characters in the plot pretend to Benedick and Beatrice so convincingly that they reverse their normal attitudes to each other.
...help, like the Saint Theresas of the world, the kind that hurt, whether by design or accident, like Rosamond and to some degree like Dorothea, and the kind that help, though those are few and far between. Rosamond was not trying to hurt Dorothea by trying to take Will Ladislaw from her. She was only thinking of herself, but whether she was trying to hurt Dorothea or not it had the same effect. Edward Casaubon does not keep his feelings of insecurity from Dorothea and everyone else to hurt them, but because he is ashamed that he feels the way he does. Secrets only confuse things, and ultimately, can ruin what was so hard to build. Life is much simpler and less perplexing when the truth is told.
	 Montraville was a soldier in the army who was about twenty three years old, and Charlotte was only fifteen. He was much older than Charlotte. Montraville influenced her in evil ways; he impressed her with his knowledge of love and the world by writing her a letter and giving it to her personally . Montraville knew this was forbidden but gave it to her anyway.
Illusion’s purpose is questioned in this fact-based world we call reality. Blanche, Stella’s sister, is used to represent illusion. Her whole life, from her diamond tiara made of rhinestones, to her spurious façade, is literally and metaphorically an illusion. The concept of illusions is further developed through the light motif in the play, with Blanche displaying “moth” like characteristics, avoiding “strong light”(pg.3) and “naked light bulb[s]”(pg.54). The light motif also represents a time of innocence, before Blanche’s husband’s death, when there was “blinding light” in her life, but after her husbands suicide, there hasn’t been“ any light that's stronger than this--kitchen—candle” (pg.103). Stanley is an advocate for reality, as shown by his constant struggle to uncover Blanches illusions about her past. Williams suggests that illusion’s serve as an essential part of society. Whether it was Blanches husband’s suicide or Stella’s husband’s participation in rape, illusions are shown throughout the play to help people deal with harsh realities. They help ‘victims’ of reality see “what ought to be truth”(pg.127) through illusions, alleviating unwanted pain.
Miss Havisham, perpetually unhappy, is a woman who is stuck in the past. She once had a sense of who she was, but after being abandoned by her fiancé, she can’t move on. From that moment forward, she is only seen in ““a long white veil” and a “splendid” wedding dress, with “but one shoe on” (Dickens, 143). Havisham lives in a blend of fantasy and reality, in both the past and the present. Her inability to move on interferes with her identity because the world around her changes continually while she makes an effort to stay the same. She no longer knows who she is, and the resulting emotional trauma hinders her ability to empathize. Her lack of empathy negatively affects how she interacts with people, especially Estella. Miss Havisham believes she is God, and uses her influence to breed Estella into a numb, unfeeling heartbreak machine. Miss Havisham’s self-proclaimed purpose is to make Estella “break [men’s] hearts and have no mercy”, in an enraged revenge plot to get back at the universe for her misfortune (Dickens, 238). Miss Havisham lives in a world far from reality, and cannot accept who she is or the circumstances that she finds herself in. As a result, she is heinous, vengeful, and malicious in every action she perfor...
Beginning Gibert and Gubar’s piece about the position of female writers during the nineteenth century, this passage conjures up images of women as transient forms, bodiless and indefinite. It seems such a being could never possess enough agency to pick up a pen and write herself into history. Still, this woman, however incomprehensible by others, has the ability to know herself. This chapter of The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination, titled “The Queen’s Looking Glass,” discusses how the external, and particularly male, representations of a woman can affect her so much that the image she sees in the mirror is no longer her own. Thus, female writers are left with a problem. As Gibert and Gubar state, “the woman writer’s self-contemplation may be said to have begun with a searching glance into the mirror of the male-inscribed literary text. There she would see at first only those eternal lineaments fixed on her like a mask…” (Gilbert & Gubar, 15). In Charlotte Brontë’s Villette, the narrator and heroine Lucy Snowe is faced with a great deal of “reflections” which could influence her self-image and become detrimental to her writing. However, she is aware that the mirrors she finds, whether the literal mirror of the looking glass or her reflection in other characters’ ...
...his is similar to the Nurse in Romeo and Juliet. She knows that Romeo has killed Juliet's cousin Mercutio. Juliet begs Nurse to tell her and the Nurse knows that if she tells Juliet, Juliet will be heart-wrenched and will get super emotional about it but if she does not the Nurse will feel guilty and lose Juliet's trust. In the end, the Nurse tells Juliet and Juliet threatens to hang herself with a rope ladder. All of these characters reveal the truth which results in extreme action taken by the one who learns the truth.
Jane Austen’s works are characterized by their classic portrayals of love among the gentry of England. Most of Austen’s novels use the lens of romance in order to provide social commentary through both realism and irony. Austen’s first published bookThe central conflicts in both of Jane Austen’s novels Emma and Persuasion are founded on the structure of class systems and the ensuing societal differences between the gentry and the proletariat. Although Emma and Persuasion were written only a year apart, Austen’s treatment of social class systems differs greatly between the two novels, thus allowing us to trace the development of her beliefs regarding the gentry and their role in society through the analysis of Austen’s differing treatment of class systems in the Emma and Persuasion. The society depicted in Emma is based on a far more rigid social structure than that of the naval society of Persuasion, which Austen embodies through her strikingly different female protagonists, Emma Woodhouse and Anne Eliot, and their respective conflicts. In her final novel, Persuasion, Austen explores the emerging idea of a meritocracy through her portrayal of the male protagonist, Captain Wentworth. The evolution from a traditional aristocracy-based society in Emma to that of a contemporary meritocracy-based society in Persuasion embodies Austen’s own development and illustrates her subversion of almost all the social attitudes and institutions that were central to her initial novels.
The roles of Mr. and Mrs. Bennet in Jane Austen’s novel Pride and Prejudice are contrasted between a father who cares about what’s inside of people and a mother who only worries about vanity and appearance. Mr. and Mrs. Bennet’s parental guidance is unique to their personalities. Because of their two opposing personas, Mr. and Mrs. Bennet’s ideas of marriage are contradictory for their daughters; Mr. Bennet believes in a loving respectful marriage whereas Mrs. Bennet values a marriage which concerns wealth and social status. Their aspirations for Lydia, Jane, Mary, Kitty and Elizabeth mirror their conflicting ideologies. Mr. Bennet seems to have a quiet deep love for his daughters while, on the contrary, Mrs. Bennet’s love is over-acted and conditional. Both parents help to shape their daughters’ characteristics and beliefs: Lydia reflecting Mrs. Bennet’s flighty and excessive behavior while Elizabeth inherits Mr. Bennet’s pensive and reflective temperament. Looking past their dissimilar personality traits and contradicting convictions, both parents hold the family together and play an integral role in the household structure.