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Subversion of Class and Gender Roles in Jane Austen's Persuasion
In Jane Austen's Persuasion, Mrs. Croft makes but few appearances and delivers little dialogue. Nevertheless, Austen gives her significant narrative and thematic importance. Mrs. Croft provides a foil for several of the Elliots, while developing a commonality with the frequently ostracized Anne. This bond between Mrs. Croft and Austen's heroine valorizes Mrs. Croft's radical views concerning feminism and marriage. Beyond signifying a paradigm shift in such social morals, though, the roles of Admiral and Mrs. Croft allow Austen to subvert the dominant upper class culture. By exhibiting superior but genuine manners, by demonstrating the complacency of the dominant culture, and by exerting their own counterculture, Admiral and Mrs. Croft expose both the foolishness and the artifice of their upper class acquaintances.
Austen clearly contrasts Mrs. Croft with Sir Walter, Elizabeth and Mary, and therein reveals the selfish and impractical nature of luxury, saying, "none of us expect to be in smooth water all our days" (50). She admits to the confinement of a frigate, but notes that "any reasonable woman may be perfectly happy in one" (50, italics mine). Meanwhile, Sir Walter cannot imagine life without "[journeys], London, servants, horses . . ." (10), and, for Elizabeth, "the sacrifice of one pair of horses would be hardly less painful than of both" (10). Mrs. Croft thus highlights the Elliots' frivolousness. The Crofts also illustrate Sir Walter's vanity, by moving his several looking glasses into storage, since Admiral Croft requires only one. Similarly, Mrs. Croft exposes Mary's self pity, allowing us to co...
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...ne Elliot as worthy not only of the noble relations of their family, but also of the superior culture of the Crofts.
Works Cited and Consulted
Austen, Jane. Persuasion. 1993. Ware, Herts: Wordsworth, 1996.
Craik, W. A. Jane Austen in her Time. London: Nelson, 1969.
DaDundo, Laura. "Jane Austen" Concise Dictionary of British Literary Biography. Vol. III. Detroit: Gale Research Inc., 1992.
Harmon, William, and C. Hugh Holman. Handbook to Literature. Upper Saddle River, N.J.: Prentice Hall, 1986.
Magill, Frank N., ed. English Novel: Richardson to Hardy. Pasadena: Salem Softbacks, 1980.
Southam, Brian. "Jane Austen." British Writers. Vol. IV. Ed. Ian Scott-Kilvert. New York: Scribners, 1981.
Tanner, Tony. "In Between: Persuasion." Persuasion. By Jane Austen. Ed. Patricia Meyers Spacks. New York: Norton and Co., 1995.
Fowler, Karen J.Introduction. Persuasion. Jane Austen: The Complete Novels. By Jane Austen. New York: Penguin, 2006. 1091-1231. Print.
Weldon, Fay. From Letters to Alice: On First Reading Jane Austen. Taplinger Publishing Co. Inc, 1984 in Readings on Jane Austen. Ed. Clarice Swisher.
However, that one trait did not alone take away his position of high authority. Oedipus displayed anger throughout the whole story, which did not help him at all. During the story, we learn of Oedipus' anger as he knocked a passerby at the meeting of the three highways; "I struck him in my rage". Later, this passerby whom he angrily and quickly killed, was revealed to be Laios, Oedipus' father. Oedipus' anger also quickly shifted his judgment of Teiresias. "We are in your [Teiresias] hands. There is no fairer duty", Oedipus' respect for Teiresias quickly changed as Teiresias refused to tell of what was the trouble's cause. Oedipus began claiming that "Creon has brought this decrepit fortune teller" to mean that Teiresias was thought of as a traitor in Oedipus' thinking. Oedipus' anger is also shown as he begins to insult Teiresias by calling him a "wicked old man". Oedipus' anger throughout the beginning of the play hindered himself.
This essay examines the social, philosophical, and psychological elements that had affected the Russian Society as well as the world of Dostoevsky’s novel “ Crime and Punishment ˮ. This essay demonstrates the wild impact and clashes left by these theories on the life, choices, and mentality of the novel and the characters embodied, the most important of which is the character of Raskolnikov. Highlighting an “in-depth exploration of the psychology of a criminal, the inner world of Raskolnikov, with its doubt, fear, anxiety and despair in escaping punishment and mental tortureˮ.
Menand, Louis. "What Jane Austen Doesn’t Tell Us." New York Review of Books 43.2 1 Feb. 1996: 13-15.
In such poor living conditions, those that the slums of Russia has to offer, the characters in Fyodor Dostoevsky’s Crime and Punishment1 struggle, living day to day. Raskolnikov, the protagonist, experiences multiple layers of suffering (the thought of his murder causes him greater suffering than does his poverty) as does Sonia and Katerina Ivanovna (1). Through these characters as well as Porfiry Petrovitch, Dostoevsky wants the reader to understand that suffering is the cost of happiness and he uses it to ultimately obliterate Raskolnikov’s theory of an ubermensch which allows him to experience infinite love.
His pride gets him into a lot of bad situations. The ultimate downfall of Oedipus is that he is unwilling to accept is fate. This drives him throughout the whole story to get down to the bottom of numerous questions. Such as, who killed his father? What is his fate and how can he avoid it? Also he was questioning the loyalty of his brother-in-law, Creon. Oedipus is genuinely concerned by the damage the plague is doing to his people and seeks to help. Creon informs him that the plague is the result of King Laius's murder and that the murderer must be found and killed or expelled. Oedipus seeks counsel from Teiresias the prophet. However, the prophet is afraid of divulging the truth about the situation. Reason being is because the prophet knows that Oedipus is guilty of killing his father. However, even though Oedipus has done many things that are frowned upon, the reader has to
Ballaster, Ros. "Introduction to Sense and Sensibility". Sense and Sensibility. Jane Austen. New York: Penguin Books, 1995.
A paragon of realist literature, Fyodor Dostoevsky deftly exposes nihilism in his novel, Crime and Punishment, published in 1866. Its protagonist, Rodion Raskolnikov, is intelligent yet bitter and unfeeling, having denounced his morality and bonds with society. He embodies the qualities of nihilism, the desertion of all emotional and ethical concerns. This philosophical doctrine is historically ubiquitous, particularly with the Nihilist Movement, one of Imperial Russia’s Great Reforms, and the growing apostasy and atheism of postmodernity; both instances aptly highlight the abandonment of virtue, individual and societal.
Persuasion, by Jane Austen is a story of a maturing heroine and her second chance at love. Eight years before Persuasion picked up the story, Anne Elliot let herself be persuaded to refuse the man she loved because her family and friends told her she was above him. He left, his heart broken, and resented her for the next eight years. She never loved anyone else, and at the start of this romance novel, she was twenty seven years old, and unmarried. In Persuasion, Austen provides a character study of Anne Elliot who transforms from an easily persuaded young girl to a strong, independent woman; and in doing so changes the lense through which her family, friends and the man she loves view her.
...ane Austen. Harlow: Longman Literature Guides [series], 1988. Craik, W. A. The Development of Jane Austen's comic art: Emma: Jane Austen's mature comic art. London: Audio Learning, 1978. Sound recording; 1 cassette; 2-track. mono. Gard, Roger, [1936- ]. Jane Austen, Emma and Persuasion. Harmondsworth : Penguin, Penguin masterstudies [series], 1985. Jefferson, D. W. (Douglas William), [1912- ]. Jane Austen's Emma: a landmark in English fiction. London: Chatto and Windus for Sussex University Press, Text and context [series], 1977. Lauritzen, Monica. Jane Austen's Emma on television: a study of a BBC classic serial. Goteborg, Sweden: Acta Universitatis Gothoburgensis, Gothenburg studies in English, 48 [series], 1981. Sabiston, Elizabeth Jean, [1937- ]. The Prison of Womanhood: four provincial heroines in nineteenth-century fiction. London : Macmillan, 1987.
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 predominant priority in characterizing Oedipus throughout the play is in describing his strengths. This priority can only be explained by Sophocles striving to convey that Oedipus is to be viewed as a good and righteous person in both character and action rather than the one who caused the tragedy. Oedipus’s dedication to his word leads him to banishing himself after he realizes he is the one who has brought misfortune upon Thebes. The chorus of the play also frequently honors him and laments his tragedy, feeling truly mournful that the savior of Thebes is forced to suffer. After he saves Thebes from the terrorism and rises to lead successfully and justly, the people are trusting of him and give more note to his successes. Still, it must be noted that none of these acts result in Oedipus’s downfall. Only the killing of his father and marriage to his mother can be seen as the actions that cause his undoing. All other destructive actions by Oedipus in the play can only be taken after he commits these two terrible
Austen, Jane. Pride and Prejudice. Ed. Donald Gray. New York: WW Norton &. Company, 1996.
Fergus, Jan. “Biography.” The Cambridge Edition of the Works of Jane Austen. Ed. Janet Todd.