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Character development broad point
An essay on character development
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Throughout Adam Bede the characters of Dinah Morris and Hetty Sorrell are compared and contrasted, albeit sometimes indirectly, both can, at times, represent the Madonna and the harlot. It is not always clear which woman is the harlot and which is the Madonna. Many critics have commented on the exchange in roles and the position of such a woman in pre-Victorian society. Dinah is a pillar of the society, a good hardworking girl who is a credit to the Poyser family, pretty but not beautiful by Hetty's standards. Dinah is unusual in that her vocation goods beyond dairy work, she is a Methodist preacher, this is the only thing frowned upon by some members of the society. On the other hand, Hetty is aesthetically beautiful, but is simple and vain; she views work as something that ruins her hands. The opinion of much of the village is that she is a burden to her aunt and uncle, with dreams above her station.
The story of Adam Bede is a story of polarity and opposition; Eliot critic Dorothea Barrett made this statement:
Rather than a simple opposition of Dinah the Madonna versus Hetty the harlot, we have in `Adam Bede' an opposition of oppositions, a dialectic in which each term is itself a dialectic, Dinah and Hetty are opposites.
This is to say that the polarity can swing back and forth, Hetty is not always a harlot, yet can be considered something of a martyr of this judging pre-Victorian society. Barrett went on to accuse Dinah of acting with `malicious intent' in that she almost forces a confession out of the already exhausted Hetty:
Let us pray, poor sinner: let us fall on our knees again, and pray to the God of all mercy.
It seems that Hetty cannot repent enough for Dinah; it is as though she needs to know how ...
... middle of paper ...
...torian society.
Bibliography
Allen, Walter `Masters of World Literature: George Eliot', Weidenfeld & Nicholson, London, 1965
Armitt, Lucie `George Eliot - A reader's guide to essential criticism', Icon Books Ltd, Cambridge, 2000
Barrett, Dorothea `Vocation and Desire: George Eliot's Heroines', Routledge, London, 1991
Brady, Kristin `Women Writers: George Eliot', Macmillan, London, 1992
Eliot, George `Adam Bede', Penguin Classics, London, 1985
Haight, George. S `George Eliot: A Biography', Oxford University Press, Oxford, 1978
Haight, George. S & Vandarsdel, Rosemary. T `George Eliot: A Centenary Tribute', Macmillan, London, 1982
Hughes, Kathryn `Women Writers: George Eliot', Macmillan, London, 1992
Nestor, Pauline `Critical Issues: George Eliot', Palgrave, Basingstoke, 2002
Uglow, Jennifer `George Eliot', Virago Press Ltd, London, 1987
Despite the common cliché, ?don?t judge a book by its cover,? you never get a second chance to make a first impression, most first impressions are derived from appearance. Edith Wharton harshly juxtaposes the appearances of Mattie and Zeena, to such an extreme that it almost seems bias. From the beginning of the novel, Zeena is depicted as an old and ?repugnant? (46) housewife. Substantial background information is not given, nor causes for her worn out and ?bloodless? (53) demeanor. ?Though she was but seven years her husband?s senior, she was already an old woman.? (53) In harsh comparison, Mattie is portrayed as a youthful, vivacious woman, yet with natural beauty. This drastic juxtaposition is black and white, with no grey areas, just the strong Mattie and the feeble Zeena. However, the colors used to describe Mattie and Zeena are not black and white, they each ...
The juxtaposition of language when describing males and females compares the females’ resentment to the males’ privilege. In both poems, the men are unapologetically self-confident; Adam has “turned himself into God”, his actions and decisions are faultless and are often described as justified by strong and un-ambiguous phrases such as “he had to”, “he must” and “he refuses to.” This language harshly contrasts Eve’s uncertain phrases such as “I would suggest,” “I observed” and “Perhaps”. Similar is the contrast between language used by the female persona and her husband in ‘BS’. The speaker’s rampant and vivid fantasies are hidden “inside her smile”, “invisible inside their placid hostess” and “in her warm thighs”. Her thoughts and desires are hidden from society, behind facades and niceties. Juxtaposing this repression and silence is her husband who ‘calls [her]’ to satisfy his sexual desires without any qualms as to what she may want, and who is described as ‘rich in peace’. The two poets’ utilization of submissive language in describing the female gender mirrors the powerful, assertive words in describing their male counterparts. By placing the male gender on a higher grounding, this represents the way in which the patriarchal society has favoured this gender over the disempowered female,
Janie's Grandmother is the first bud on her tree. She raised Janie since she was a little girl. Her grandmother is in some respects a gardener pruning and shaping the future for her granddaughter. She tries to instill a strong belief in marriage. To her marriage is the only way that Janie will survive in life. What Nanny does not realize is that Janie has the potential to make her own path in the walk of life. This blinds nanny, because she is a victim of the horrible effects of slavery. She really tries to convey to Janie that she has her own voice but she forces her into a position where that voice is silenced and there for condemning all hopes of her Granddaughter become the woman that she is capable of being.
The role of women in a black society is a major theme of this novel. Many women help demonstrate Hurston's ideas. Hurston uses Janie's grandmother, Nanny, to show one extreme of women in a black society, the women who follow in the footsteps of their ancestors. Nanny is stuck in the past. She still believes in all the things that used to be, and wants to keep things the way they were, but also desires a better life for her granddaughter than she had. When Nanny catc...
Goode, John. "Adam Bede: A Critical Essay," in Ed. Barbara Hardy, Critical Essays on George Eliot, (1970).
Since the advent of ordered civilization, patriarchal rule has held dominion over the kingdoms of men. Women have had equally as many influential, inspirational and imperative tales to be told as men, however their voices have been marginalized, neglected, iniquitously subjugated, and bound by the ineffable chains of bondage for centuries. One need only possess a cursory knowledge of biblical history to recognize immediately the lowly status of women in the ancient Hebrew world. There is nary a better sourcebook of patriarchy and the proscriptive treatment of women in all of literature than that of the Old Testament. One cannot possibly, however, ignore the stories of Delilah, of Sarah, of Jezebel, and, perhaps most interestingly, of Dinah. Anita Diamant, a contemporary chronicler of Jewish lore and a seminal figure in modern-day historical fiction, expressed the woes and voicelessness experienced by the women of the Old Testament in her novelistic midrash entitled The Red Tent. Narrated from Dinah's perspective, Diamant's novel presents a feministic interpretation and retelling of the story of Dinah, her mothers, and her sisters. Dinah's life in the Book of Genesis is relegated to just a few ambiguous sentences, since she was a woman and the principle authors of the Bible were men with their own bigoted agendas. Had Dinah been given the opportunity to share her story, trials and tribulations, and actual experiences, her account would have doubtlessly been different from that which is commonly accepted. As evidenced by the stories of Dinah, Mary Magdalene, and any number of marginalized genders, religions, and ethnic groups, those who maintain power write history, eclipsing the perspectives of the powerless and the weak and crushi...
In Zora Neale Hurston’s novel Their Eyes Were Watching God, the character of Janie Crawford experiences severe ideological conflicts with her grandmother, and the effects of these conflicts are far-reaching indeed. Hurston’s novel of manners, noted for its exploration of the black female experience, fully shows how a conflict with one’s elders can alter one’s self image. In the case of Janie and Nanny, it is Janie’s perception of men that is altered, as well as her perception of self. The conflict between the two women is largely generational in nature, and appears heart-breakingly inevitable. Hurston’s Nanny has seen a lot of trouble in her life.
These women both go against the dictated Victorian “norms”. We find a clash between Calixta who chooses a normal form of escaping these burdening ideals and Emily who is driven mad by the immense burdens society has placed on her. They reflect, how even with the most barring of societal demands, our cardinal needs find ways to be met.
Yaeger discusses several qualities of the honey-mad woman, and applies them to the female protagonists in Bronte's writing.
The creative use of diction that Behn puts forth in her work is extremely capturing to the reader. Furthermore, it brings forth another layer to observe in this work. When examining the last stanza, words such as bewitching, fury, and damned leap off the page. Examine first the word bewitching. This word in itself provides a negative connotation within the reader. Behn realized this and the word was not utilized unintentionally. Here Behn emphasized how during this time period the perspective of women consisted of...
Her family has moved away from Laban, the father of mothers, and Dinah is experiencing many things for the very first time. One of the things that she gets to experience is a meeting with her grandmother, Rebecca. Rebecca is described as “the oldest person I had ever seen … her black eyes were clear and sharp … her robes were purple” (149). Dinah thought that “she was magnificent” (150). Rebecca was an “Oracle” who people came to “seeking advice and prophecy” (150). After Dinah’s family had stayed with Rebecca for a while, they left, but Rebecca had requested that Dinah stay behind to be her assistant. Dinah, however, does not seem to have the same talents or gifts that Rebecca has. Rebecca said that “Dinah is not the heir” and Dinah herself says that “I had merited little of Rebecca’s attention. I had failed to please her” (166). This event in Dinah’s life is the first one that shows her that not everything will come as easily to her as she thought it had to her mothers. Much later in life Dinah realizes that she will carry the torch from Rachel, and become a midwife. Finding a husband will not be as easy for her as it was for her mothers
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Many writers embraced this strong, sculpted, large-bodied female type, if only to use her as a comparison to the more delicate beauty that became popular later. According to Lefkovitz, the two conventions meet (and clash) in George Eliot's Adam Bede: "Bessy Cranage .
Throughout history women have always been considered lesser than men. Women were portrayed as property to men, nothing more. They were supposed to be seen and not heard, and were basically servants to their husbands and fathers. In order for women to even be considered more than property their father or spouse had to be established in the community or a man of high rank. Despite their subservient roles women in British literature have always been depicted as obedient or unruly, from William Shakespeare’s play Macbeth, to Beowulf, to Christina Rossetti’s “Goblin Market.” For example, women have always been portrayed as being housewives, and care takers. Women were supposed to tend to the men and all of the house hold duties and chores; however some women broke away from that stereotype. They became more and curious and aware of their worth, so they were viewed as temptresses or “rebels” against the social norm. Despite the fact that women have evolved throughout history, British literature has always characterized women in two different lights, one being obedient and submissive and another being powerful and strong willed.
As we move forward in the literary history of England, we find that the conceits to a modern society involve a lot of compromise in interpersonal relations. As we see the introduction of the marketplace and social mobility to a previously unprogressive societal structure, we see the individual becoming a pastiche of the various societal structures themselves. And with the splintering of societal lines away from traditional and broadly singular class boundaries such as lineage, profession, and religion, the ideologies that influence the individual can cause conflict in multiple forms. One of those forms easily seen in “Mrs. Warren’s Profession” is that of individual moral duplicity, due to a split sense of self. One of the interesting demonstrations in this play is how the two main women leads perceive each other – as they both operate with the same goals in the “marketplace” of society, since they do it from different methods they are instantly alienated from each other. I look to show in this paper how the effects of a splintered society creates this type of market-based alienation between those with the same goals of progress, and perhaps shine light into how the Victorian era ideas of progress could have a dark side that captures the society in a way that is perceived positively.