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Recommended: Women and literature
Throughout history, women have been looked upon as sources of beauty. From medieval times, the women that are remembered and well-documented in poetry and story-telling are presumably all one thing: beautiful. A woman’s beauty does not simply represent their physical beauty, but the knowledge, power, personality, and even hardships that woman has endured. Strong, significant women from this time and prior periods have entire works of literature dedicated to their beauty and appearance. Goddesses, such as Aphrodite or Venus, the Virgin Mary, Nature; these women are central figures in the beginning of the Anno Domini era, through medieval literature, all the way to present day. In medieval times, ‘everyday’ women in the literature are even described by their beauty. Women who have the strong, driving roles in works of this time period impart wisdom, kindness, the feeling that although men were the superior gender, the women are still the ones who bring life to this world and make this life worth living. In the writing’s of Boethius, Alan de Lille, and Chaucer, there are three women whose beauty and physical characteristics are central in the understanding of their personalities and the works themselves. The women are that of Lady Philosophy, Nature, and the White Queen. Each woman’s beauty is described to that of which the author wanted the reader to focus on in the woman’s personality: intellect in Lady Philosophy, the high status once held and the role as mother by Nature, and the good heart and kindness in the White Queen.
In Boethius’, The Consolation of Philosophy, Lady Philosophy is given the briefest physical description out of the three allegorical women, but holds the most symbolism. Lady Philosophy’s beauty ...
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...ted others and no one was ever harmed by speaking with her. Trouth, a vow made with a sense of honor and honesty, has even embodied himself in the Queen (Chaucer, line 1003). The White Queen is a woman with a pure heart and only kindness and love can radiate from her.
The allegorical women of Lady Philosophy, Nature, and the White Queen encompass all the ways in which a woman can be beautiful, on the inside and the outside: intellectuality, motherhood, kindness, and purity of heart. The miraculous qualities of these three women are that they each embody those four traits, but bring to light and focus only on one. Lady Philosophy brings us the gift of understanding godly knowledge, Nature, the love only a mother can give to her children, and the White Queen, continual kindness for all beings. Their beauty is simply the outward sign of all the goodness within.
Marie de France’s “Lanval” is a brilliantly witty and captivating narrative poem—one illustrating a knight’s unyielding honor and loyalty to his king as well as his enduring chivalric devotion to the woman he loves. Written in the twelfth century, amidst a time when women were looked down upon and considered useless and unnecessary, Marie’s portrayal of a knight needing to be rescued by his female lover breathes comic irony into this otherwise misogynistic and antifeminist world. In addition to this cleverly depicted romance, a further literary work, Geoffrey Chaucer’s early fifteenth century “The Wife of Bath’s Tale,” extends its own explicitly satirical outlook
Traditional female characteristics and female unrest are underscored in literary works of the Middle Ages. Although patriarchal views were firmly established back then, traces of female contempt for such beliefs could be found in several popular literary works. Female characters’ opposition to societal norms serves to create humor and wish- fulfillment for female and male audiences to enjoy. “Lanval” by Marie De France and “The Wife of Bath’s Tale” by Geoffrey Chaucer both show subversion of patriarchal attitudes by displaying the women in the text as superior or equal to the men. However, “The Wife of Bath’s Tale” also incorporates conventional societal ideas by including degradation of women and mistreatment of a wife by her husband.
The book then talks about viewpoints of women, both real and those who face tragedy. Women during this time were very secluded and silent, but the heroines contradicted that. This chapter talks about the images of women in the classical literature in Athens, and the role they had in society. Many tragedies were ones that formed by mythes during the Bronze Age. It showed the separation in what made women heroic, rather than average. While viewing other Scholarly sourcese, Pomerory writes her own theory, she used others
Over the course of time, the roles of men and women have changed dramatically. As women have increasingly gained more social recognition, they have also earned more significant roles in society. This change is clearly reflected in many works of literature, one of the most representative of which is Plautus's 191 B.C. drama Pseudolus, in which we meet the prostitute Phoenicium. Although the motivation behind nearly every action in the play, she is glimpsed only briefly, never speaks directly, and earns little respect from the male characters surrounding her, a situation that roughly parallels a woman's role in Roman society of that period. Women of the time, in other words, were to be seen and not heard. Their sole purpose was to please or to benefit men. As time passed, though, women earned more responsibility, allowing them to become stronger and hold more influence. The women who inspired Lope de Vega's early seventeenth-century drama Fuente Ovejuna, for instance, rose up against not only the male officials of their tiny village, but the cruel (male) dictator busy oppressing so much of Spain as a whole. The roles women play in literature have evolved correspondingly, and, by comparing The Epic of Gilgamesh, Sir Gawain and the Green Knight, and The Wife of Bath's Prologue, we can see that fictional women have just as increasingly as their real-word counterparts used gender differences as weapons against men.
The influential roles of women in the story also have important effects on the whole poem. It is them that press the senses of love, family care, devotion, and other ethical attitudes on the progression of the story. In this poem the Poet has created a sort of “catalogue of women” in which he accurately creates and disting...
The image that has been produced over time about the Goddess of Desire, the renowned Aphrodite, is one of a longhaired beauty, riding atop a scallop shell to bestow her beauteous wonders upon the mortal earth and Olympus. This is an icon of femininity and perfection, the most stunning of the already statuesque gods and goddesses. Doves and sparrows are her counterparts as is the sweet and playful Cupid in later Roman myths. However, this seemingly flawless picture of delicacy and sensual delights is far from perfect. In fact, when looked at a little more closely, the mien of Aphrodite becomes distorted, her beauty playing out to actually be her curse. In the next pages we will delve into the true nature of the Love Goddess, contemplate the source of her ‘deeds’ and then determine how high a pedestal she actually rests upon.
Boethius's idea of a simultaneous God that could remain omnipresent without propagating or condoning evil became a cornerstone in Christian theology during the medieval ages. The Consolation soothes the reader not because it provides a theological proof, but because it reveals that injustice will never be rewarded by the truly virtuous God. In the Consolation of Philosophy, reason represented by Lady Philosophy comforts the imprisoned Boethius that in a world created by an eternal, emanating God, bad can never overcome virtue and goodness.
Sontag introduces her essay to the audience by establishing a focal point around the fact that women viewed today are derivative from the religious perspective of how women were viewed in history. During the ancient times, Greeks and Christians practiced their own methods of analyzing and critiquing women and their beauty. The Greeks believed that the lack of ‘inner” beauty could be compensated with “outer” beauty. They distinguished the two beauties in a way that suggested that both were interconnected to one another within an individual. The preference and priority was given to the ‘outer’ beauty, while the ‘inner’ beauty would be kept at bay. Christianity, on the other hand, gave moral significance to beauty; in defining beauty, or words of physical character to be associated with woman and feminine. Gradually, Sontag introduces the distinguishable beauty between men and women. She does this by recapitulating how in a Christian religion, a woman’s body was parted into many sections to be judged and scrutinized, while men are visua...
As a man fascinated with the role of women during the 14th Century, or most commonly known as the Middle Ages, Chaucer makes conclusive evaluations and remarks concerning how women were viewed during this time period. Determined to show that women were not weak and humble because of the male dominance surrounding them, Chaucer sets out to prove that women were a powerful and strong-willed gender. In order to defend this argument, the following characters and their tales will be examined: Griselda from the Clerk's Tale, and the Wife of Bath, narrator to the Wife of Bath's Tale. Using the role of gender within the genres of the Canterbury Tales, exploring each woman's participation in the outcomes of their tales, and comparing and contrasting these two heroines, we will find out how Chaucer broke the mold on medievalist attitudes toward women.
Euripides, one of Ancient Greece’s most famous playwrights, could be considered as one of the earliest supporters of women’s rights. With plays such as Alcestis and Medea, he clearly puts an emphasis on the condition of women, and even integrates them in the Chorus of the latter play, a feat that was not often done in Ancient Greece. Throughout the years, it has been argued that the two central characters in each of those plays offer conflicting representations of women in those times, and I can safely say that I agree with that argument. I will expand on my view by pointing out an important similarity between Alcestis and Medea, followed by a key difference, and will finish it off by contrasting them with the Ancient Greek depiction of an “ideal woman.”
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?
Women were often subjects of intense focus in ancient literary works. In Sarah Pomeroy’s introduction of her text Goddesses, Whores, Wives, and Slaves, she writes, “Women pervade nearly every genre of classical literature, yet often the bias of the author distorts the information” (x). It is evident in literature that the social roles of women were more restricted than the roles of men. And since the majority of early literature was written by men, misogyny tends to taint much of it. The female characters are usually given negative traits of deception, temptation, selfishness, and seduction. Women were controlled, contained, and exploited. In early literature, women are seen as objects of possession, forces deadly to men, cunning, passive, shameful, and often less honorable than men. Literature reflects the societal beliefs and attitudes of an era and the consistency of these beliefs and attitudes toward women and the roles women play has endured through the centuries in literature. Women begin at a disadvantage according to these societal definitions. In a world run by competing men, women were viewed as property—prizes of contests, booty of battle and the more power men had over these possessions the more prestigious the man. When reading ancient literature one finds that women are often not only prizes, but they were responsible for luring or seducing men into damnation by using their feminine traits.
As stated by ‘The Duchess’, Margaret Wolfe Hungerford’s famous quote “beauty is in the eye of the beholder.” As a result, beauty can describe as an inspiring view present in everything that can be seen. To begin, beauty can be viewed in a building as large and extravagant as the white house to the small hometown market or even in the sight of a single flower to a field filled with a million flowers. Also, beauty can be seen in the sunrise over the peaks of the mountains and also in the sunset glowing across a calm lake surrounded by the bright colors of the fall trees. Furthermore, people have physical beauty, which can be found in a person’s features, figure, or complexion. In the poem “Beauty & Dress” by Robert Herrick he explains the beauty he sees in his wife. Herrick states,
Judging a woman by her appearance became a social norm in the late 19th and early 20th centuries. Since women were not allowed to hold high or reputable positions, they often relied on their husbands to pay and bring in most of the bills and money. Such conditions often left a young woman scrambling to find a husband, or better said it was in her best interest to find a husband. Modern literature originated in the late 19th and early 20th centuries. At the time, true women were thought to exhibit the following traits: piety, purity, submissiveness, and domesticity (Welter). Not only did women criticize each other, but the media did as well. Women were also responsible for upholding their physical beauty. A woman could’ve had all the traits that made her a true woman, but if she lacked physical beauty, she was shamed by society. The majority of modern American texts began to shift from the standards of women being weak and submissive but they still regarded physical beauty as a trait that all women had to maintain and obsess about.
The definition of beauty is varying among different people in the world. Even though almost everyone knows the term beauty, many people are struggling in defining it and persuading others to agree with their opinions. Beauty is defined by a combination of qualities existent in a person or thing that fulfills the aesthetic feels or brings about profound gratification. Many people define beauty as a term to describe a person’s physical appearance; they often think that beauty comes from magazines, video girls, or even models. Although the term beauty can define a person’s physical appearance, true beauty lies in the way one acts and thinks rather than the way one look.