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Shakespeare and his characterization
Shakespeare and his characterization
Shakespeare and his characterization
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A Virtuous Woman
In William Wycherley’s The Country Wife, William Wycherley enlightens the audience to capture several different ironical statements and questionable behaviors. The play fits perfectly into Greenwald’s definition of a comedy of manners: “[Critics] assert that a comedy of manners and the people who inhabit it represent the ostentatiously idle upper-class” (“Social Heirarchy” web). Wycherley also distinguishes several oddities in his characters not typically used to describe the upper-class. For example, Mr. Pinchwife, a wealthy newlywed husband, is so afraid that he is going to become a cuckold, that he does not allow his wife to leave the house (Wycherley act two). One of Wycherley’s goals in writing The Country Wife is to point out the flaws of society (“Q & A” web). Wycherley understands that no one is perfect and that a person’s virtues can be altered if pressures and outside influences become prominent. This is precisely how Wycherley uses Mrs. Margery Pinchwife’s character. Mrs. Pinchwife, a virtuous woman, still succumbs to the immorality of the city of London. Wycherley develops characters who precisely bring out Mrs. Pinchwife’s flaws. Mrs. Pinchwife takes the risks of public shame and a damage reputation to have an affair with Mr. Horner.
Mr. Horner is the protagonist in the play, and Mrs. Pinchwife falls in love with him. Mr. Horner has tremendous influence over Mrs. Pinchwife. Mr. Horner is a “handsome, forceful, dangerously exciting, and reckless rogue who is skeptical of society’s code of honor” (“Social Hierarchy” web). Mr. Horner is self-indulgent. This self-indulgence stems from his lack of virtues and morality (Smith web). Mr. Horner “exhibits skeptical, libertine, and natural attr...
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McNamara, Peter L. “The Witty Company: Wycherley’s The Country Wife.” N.p.: n.p., d.d. 60-72. Ariel.synergies.prairies.ca. Web. 18 Mar. 2014. http://ariel.synergiesprairies.c/ariel/index.php/ariel.article/download/1038/1013.
Smith, Victoria. “Libertines Real and fictional in the Works of Rochester, Shadwell, Wycherley, and Boswell.” digital.library.unt.edu University of North Texas, n.d. Web. 18 Mar. 2014. http://digital.library.unt.edu/ark:/67531/metadc6051/m2/1/high_res_d/dissertation.pdf.
Wycherley, William. The country-wife: [a comedy, acted at the Theatre Royal, 1675]. London: Univeristy of Oxford, 1675. iBook file.
“17C Social Hierarchy and Character Interpretation in The Country Wife.” faculty.winthrop.edu. N.p., n.d. Web 18 Mar. 2014. http://faculty.winthrop.edu/vorderbruegg/winthropweb/current/CountryWifeinterpretiveessay—revised11Feb.pdf.
A main theme in this small town’s culture is the issue of gender and the division of roles between the two. Not uncommon for the 1950’s, many women were taught from a young age to find a good man, who could provide for them and a family, settle down and have children – the ideal “happy family.” As Harry states after singing the showstopper “Kids,” “I have the All-American family: A great wife, 2 wonderful kids and a good job.”
"The Dress Lodger - Literary Essay ." StudyMode. N.p., 1 Feb. 2013. Web. 24 Apr. 2014.
The Jilting of Granny Weatherall by Katherine Ann Porter. Having read "The Jilting of Granny Weatherall" by Katherine Anne Porter once before, I thought it would be a good idea to revisit the short story. With more understanding of the story now, it is much easier to consider the how Granny's actions are acceptable, rather than rash at times. Granny's character is one that everyone can relate to because each one of us manages to feel sorry for her through the problems she must face along her long road to death. I also found myself wanting her to get to see George one more time, because she loved him so much.
Even before this event, the struggles of women in society were surfacing in the media. Eliza Farnham, a married woman in Illinois during the late 1830s, expressed the differing views between men and women on the proper relations between a husband and wife. While Farnham viewed a wife as being “a pleasant face to meet you when you go home from the field, or a soft voice to speak kind words when you are sick, or a gentle friend to converse with you in your leisure hours”, a recently married farmer contended that a wife was useful “to do [a man’s] cookin and such like, ‘kase it’s easier for them than it is for [men]” (Farnham, 243).
Having to live in a culturally diverse country such as the U.S. would influence many interpretations and adaptations to lifestyles from all over the world. Due to this, it has become customary to develop a social stereotype just being in a certain part of the world. But, everyone does their own things a little differently than the next, speak a little differently, eat different foods, and live their life a different way - but it works out. Two great example of this is in In A Good Man is Hard to Find by Flannery O’Connor, and Why I Live at the P.O. by Eudora Welty. These two short stories seek to expose myths about family relationships. Most people would assume that many Southern families are close knit and that there is a healthy relationship between every member. Welty and O’Connor challenged those stereotypes with their two short stories. It goes to show that although family relationships aren’t always perfect and these two examples show how these families fail to recognize the importance of each other.
Eudora Welty's first novel, The Robber Bridegroom, is a combination of fantasy and reality while exploring the duality of human nature, time, and the word man lives in. The union of legend, Mississippi history and Grimms' fairy tales create an adult dream world. Every character in the story has little insight to themselves and how they relate to the world around them. The antics of Mike Fink, the Harps, the bandits, and the Indians closely relate to Mississippi folklore. The blending of actual history and pure fantasy create a much richer form of entertainment. Mike Fink was an American frontiersman who is said to have beaten Davy Crockett in a shooting contest. The Harpe brothers were notorious rustlers and killers in the South. "After being felled by a bullet that paralyzed him, Big Harpe was decapitated; as the decapitation began, Big Harpe is reported to have said, "You're a God Damned rough butcher, but cut on and be damned" (Appel 70). The head was put on a post to warn other outlaws. The duality in man himself is a strong theme in the story. The men who fail to realize that man is a combination of good and evil are unable to succeed in the world around them. The Harps and to a lesser extent Mike Fink follow their most basic instincts to be frontiersmen. They are immersed completely in the lives they led and there is no other way to live. This inability to change is there downfall. The Harps are killed and Mike Fink is relegated to a lowly mail rider. This symbolizes the end of the lawless frontier. Unlike the Harps and Mike Fink, Jamie Lockhart, Clemet and Rosamond Musgrove are torn between two different personas in themselves. Jamie must separate the bandit in hims...
In the 19th Century, women had different roles and treated differently compared to today’s women in American society. In the past, men expected women to carry out the duties of a homemaker, which consisted of cleaning and cooking. In earlier years, men did not allow women to have opinions or carry on a job outside of the household. As today’s societies, women leave the house to carry on jobs that allow them to speak their minds and carry on roles that men carried out in earlier years. In the 19th Century, men stereotyped women to be insignificant, not think with their minds about issues outside of the kitchen or home. In the play Trifles, written by Susan Glaspell, the writer portrays how women in earlier years have no rights and men treat women like dirt. Trifles is based on real life events of a murder that Susan Glaspell covered during her work as a newspaper reporter in Des Moines and the play is based off of Susan Glaspell’s earlier writing, “A Jury of Her Peers”. The play is about a wife of a farmer that appears to be cold and filled with silence. After many years of the husband treating the wife terrible, the farmer’s wife snaps and murders her husband. In addition, the play portrays how men and women may stick together in same sex roles in certain situations. The men in the play are busy looking for evidence of proof to show Mrs. Wright murdered her husband. As for the women in the play, they stick together by hiding evidence to prove Mrs. Wright murdered her husband. Although men felt they were smarter than women in the earlier days, the play describes how women are expected of too much in their roles, which could cause a woman to emotionally snap, but leads to women banding together to prove that women can be...
BIOGRAPHY: According to the entry « Eudora Welty » found on Wikipedia, Eudora Alice Welty was an American author and photographer, well-known for working on the South American theme. She began higher education at the University of Wisconsin, then went to New York, where she studied at Columbia University until 1931. Unable to find a job on the East Coast because of unemployment due to the Great Depression, she went back to her her native city Jackson, Mississippi. She started to publish short stories in magazines from 1936 and rapidly acquired notoriety as a short story writer, managing to carefully describe the culture and the racial issues of the South. Each publication of her short stories collections was considered as a literary event. In 1956, her novel The Pounder Heart, adapted by Joseph A. Fields and Jerome Chodorov, achieved great success on Broadway. In 1975, her enchanting novel The Robber Bridegroom became a musical. In 1973, Eudora Welty received the Pulitzer Prize for her novel The Optimist’s Daughter. Three years earlier, she published a collection of photographs that she had taken herself in the years 1930 and 1940, One Time, one Place: Mississippi in the Depression: a work intending to depict the harsh living conditions in Mississippi during the Great Depression. In 1984, at the request of Harvard University Press, she put on paper a lecture that she gave the year before to the students: the work became a bestseller. She died of pneumonia in 2001.
Women “were expected to bear children, stay home, cook and clean, and take care of the children” (Cobb 29). They were expected to be weak, timid, domestic, emotional, dependent, and pure. Women were taught to be physically and emotionally inferior in addition morally superior to men. During this time, women were ostracized for expressing characteristics and wants that contradicted those ideals. For women, the areas of influence are home and children, whereas men’s sphere includes work and the outside world” (Brannon 161).
A house is not a home if no one lives there. During the nineteenth century, the same could be said about a woman concerning her role within both society and marriage. The ideology of the Cult of Domesticity, especially prevalent during the late 1800’s, emphasized the notion that a woman’s role falls within the domestic sphere and that females must act in submission to males. One of the expected jobs of a woman included bearing children, despite the fact that new mothers frequently experienced post-partum depression. If a woman were sterile, her purposefulness diminished. While the Cult of Domesticity intended to create obliging and competent wives, women frequently reported feeling trapped or imprisoned within the home and within societal expectations put forward by husbands, fathers, and brothers.
Throughout history, the roles of men and women in the home suggested that the husband would provide for his family, usually in a professional field, and be the head of his household, while the submissive wife remained at home. This wife’s only jobs included childcare, housekeeping, and placing dinner on the table in front of her family. The roles women and men played in earlier generations exemplify the way society limited men and women by placing them into gender specific molds; biology has never claimed that men were the sole survivors of American families, and that women were the only ones capable of making a pot roast. This depiction of the typical family has evolved. For example, in her observation of American families, author Judy Root Aulette noted that more families practice Egalitarian ideologies and are in favor of gender equality. “Women are more likely to participate in the workforce, while men are more likely to share in housework and childcare (apa…).” Today’s American families have broken the Ward and June Cleaver mold, and continue to become stronger and more sufficient. Single parent families currently become increasingly popular in America, with single men and women taking on the roles of both mother and father. This bend in the gender rules would have, previously, been unheard of, but in the evolution of gender in the family, it’s now socially acceptable, and very common.
Lady Bracknell represents the typical aristocrat who focuses the idea of marriage on social and economic status. She believes that if the men trying to marry these girls are not of proper background, there is no engagement. Through this major exaggeration, Wilde satirically reveals the irrational and insignificant matters that the upper class society uses to view marriage.
...e one support themselves and bears everything without asking anything in return. Racheal goes as far as to tend Stephen’s wife for the only purpose to help the one she loves. Both the care they impart and the way in which they behave both inside and outside the home are remarkable. Sissy goes as far as to confront Mr. Harthouse, who plays the role of the temper and seduction. This action may infer that a proper Victorian woman must be above the earthly temptations of the flesh.
Wycherley’s The Country Wife gives the audience a very clear-cut representation of gender roles in the late seventeenth century. It reminds the audience of the constructed nature of gender roles and it shows them a way a way to succeed in a society dominated by such roles. It is as simple as understanding the social constructions and creating new constructions within these roles. For instance, The Country Wife equates femaleness with power rather than pious passivity, especially in the characters of the married women who all vie for Horner’s attentions.
The Restoration comedy The Country Wife, by William Wycherley, published in 1675 demonstrates types of plays in the restoration period that were bawdy and sexual. It is in this play that certain characters are used to represent the genre of comedy of manners. Through the characters in the play such as Horner, Mrs. Pinch-wife and Lady Fidget and the constant reference to the comedy of manners, it is evident that there are many links between the playwright and restoration period. As the play originated after the restoration of England, its relation to society and the new addition to women being permitted to act on stage portrays the sexual nature of the play.