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Essays on the faerie queene
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In Book Three of The Faerie Queene, the character of Glauce plays an important role in aiding Britomart, the main character, to set off on her journey. Britomart, who represents Spenser's idea of ideal Christian chastity, confronts some challenging and poignant issues before she heads off on her adventure; namely, she sees a vision of her future husband in an enchanted looking glass, and does not quite know how to handle the feelings of all-encompassing love that arise in her. The terror, doubt and confusion she experiences are similar to what is felt by any young girl embarking on the emotional rollercoaster of adolescence, but with the added factor of the spectral figure she sees in the mirror. In Cantos Two and Three of Book Three, the sections that deal with Britomart's background, the only member of her natural family that is mentioned is her father. Therefore, in the absence of a natural mother, it is Glauce, Britomart's nurse, who steps in to fill the role. Glauce, whose name associates her with the mother of the goddess Diana and
with the owl, companion of Minerva' (Spenser notes 807), works to help Britomart through her time of intense change, behaving towards the young girl as a mother would to her own duaghter. Although a seemingly secondary character in the scheme of Book Three of The Faerie Queen, as she only appears in the two cantos mentioned above, Glauce's role as a mother figure to Britomart - a role she fulfills to the utmost degree - is a vital component behind setting the story in motion.
Glauce exemplifies the role of motherhood in many different ways in her treatment of Britomart. First of all, she is immediately aware of Britomart's change in attitude after viewing the image of Artegall in the e...
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... release Britomart to her journey alone; dressing herself up as the knight's squire, Glauce prepares to travel with the young girl, providing the unconditional and unending support of a mother to Britomart in the face of her impending adventure. It is Glauce that gives Britomart the confidence needed to undertake such a task, and it is Glauce that makes all the arrangements for the journey. She takes everything into her own hands to ensure that Britomart is successful in her endeavors, and therefore lives up to her role as a mother figure to Britomart, and as the implementary tool in setting the story of Book Three in motion.
Works Cited
Spencer, Edmund. "The Faerie Queene: Book Three". Ed. M.H. Abrams, et al.
New York: W.W. Norton and Company, Inc., 2000. 783-862.
"The Faerie Queene". Renescence Editions. 1995. University of Oregon.
November 13, 2002.
Gluckel’s memoir are arranged to describe her life in seven books. The first four books describe her mourning of her fir...
...d longs for her elder sister and mother. Frances is a good person – at heart – and is always looking out for her younger sister. Moreover, even though she has different views that her father and will always do the opposite of what is expected of her, it is seen that this insecurity is caused by James indeed. Frances feels that in order to gain security in her life, she must perform these actions. She feels compelled to live her life the way she does. Frances’s naughty and mischievous behaviour can be viewed as a weakness she possesses, and she longs to correct these weaknesses by her actions. She is not a role model by any means, but she is by no means the Devil’s advocate. A sincere heart – compelled by circumstances – does its best to make the situation turn out for the better than the worse, and Frances, through her love for her mother, inevitably does just that.
No matter what actions or words a mother chooses, to a child his or her mother is on the highest pedestal. A mother is very important to a child because of the nourishing and love the child receives from his or her mother but not every child experiences the mother’s love or even having a mother. Bragg’s mother was something out of the ordinary because of all that she did for her children growing up, but no one is perfect in this world. Bragg’s mother’s flaw was always taking back her drunken husband and thinking that he could have changed since the last time he...
...gnorance and she felt rather motherless. This reflects on her attitude to her pregnancy, when she should become a mother for her own child, but also replaces a mother-figure for her brother Vardaman. Her perception of the journey to Jefferson is omitted in the story and we need to think of her confusing mind all the time. Through lack of control over her gullibility, she is seduced by Lafe at first and in hope for solving her problem, she is exploited by a druggist in Jefferson later on. But only owing to her solitude and no interest of her close surroundings, she gives away to desperation. Even if Dewey Dell looks for some support by her relatives, she doesn’t find any and with the desperate situation, she has to fight all alone on her side.
Although this story is told in the third person, the reader’s eyes are strictly controlled by the meddling, ever-involved grandmother. She is never given a name; she is just a generic grandmother; she could belong to anyone. O’Connor portrays her as simply annoying, a thorn in her son’s side. As the little girl June Star rudely puts it, “She has to go everywhere we go. She wouldn’t stay at home to be queen for a day” (117-118). As June Star demonstrates, the family treats the grandmother with great reproach. Even as she is driving them all crazy with her constant comments and old-fashioned attitude, the reader is made to feel sorry for her. It is this constant stream of confliction that keeps the story boiling, and eventually overflows into the shocking conclusion. Of course the grandmother meant no harm, but who can help but to blame her? O’Connor puts her readers into a fit of rage as “the horrible thought” comes to the grandmother, “that the house she had remembered so vividly was not in Georgia but in Tennessee” (125).
Her family life is depicted with contradictions of order and chaos, love and animosity, conventionality and avant-garde. Although the underlying story of her father’s dark secret was troubling, it lends itself to a better understanding of the family dynamics and what was normal for her family. The author doesn’t seem to suggest that her father’s behavior was acceptable or even tolerable. However, the ending of this excerpt leaves the reader with an undeniable sense that the author felt a connection to her father even if it wasn’t one that was desirable. This is best understood with her reaction to his suicide when she states, “But his absence resonated retroactively, echoing back through all the time I knew him. Maybe it was the converse of the way amputees feel pain in a missing limb.” (pg. 399)
Kleist begins his delineation of the Marquise with terms such as "widowed,", "a lady," and "the mother of several well-brought-up children" (Kleist 68). In this introduction the reader learns that the Marquise has experienced both marriage and childbirth. In respect to her deceased husband, the Marquise avoids remarriage and returns to her family's home with her parents, brother and children. The Marquise transforms her role as lover and wife to daughter and mother, therefore stifling an aspect of her womanhood. It is not until she is unknowingly sexually assaulted and made pregnant that her femininity is reborn.
Aristotle once claimed that, “The aim of art is to represent not the outward appearance of things, but their inward significance.” Artists, such as Louise-Elizabeth Vigée Le Brun and Mary Cassatt, captured not only the way things physically appeared on the outside, but also the emotions that were transpiring on the inside. A part no always visible to the viewer. While both artists, Le Brun and Cassatt, worked within the perimeters of their artistic cultures --the 18th century in which female artists were excluded and the 19th century, in which women were artistically limited-- they were able to capture the loving relationship between mother and child, but in works such as Marie Antoinette and Her Children and Mother Nursing her Child 1898,
Mercilla and Portia problematize the boundaries of these definitions. In the Proem to Book V of The Faerie Queen Spenser establishes his defi...
The heroine, Mrs. P, has some carries some characteristics parallel to Louise Mallard in “Hour.” The women of her time are limited by cultural convention. Yet, Mrs. P, (like Louise) begins to experience a new freedom of imagination, a zest for life , in the immediate absence of her husband. She realizes, through interior monologues, that she has been held back, that her station in life cannot and will not afford her the kind of freedom to explore freely and openly the emotions that are as much a part of her as they are not a part of Leonce. Here is a primary irony.
Looking back on the death of Larissa’s son, Zebedee Breeze, Lorraine examines Larissa’s response to the passing of her child. Lorraine says, “I never saw her cry that day or any other. She never mentioned her sons.” (Senior 311). This statement from Lorraine shows how even though Larissa was devastated by the news of her son’s passing, she had to keep going. Women in Larissa’s position did not have the luxury of stopping everything to grieve. While someone in Lorraine’s position could take time to grieve and recover from the loss of a loved one, Larissa was expected to keep working despite the grief she felt. One of the saddest things about Zebedee’s passing, was that Larissa had to leave him and was not able to stay with her family because she had to take care of other families. Not only did Larissa have the strength to move on and keep working after her son’s passing, Larissa and other women like her also had no choice but to leave their families in order to find a way to support them. As a child, Lorraine did not understand the strength Larissa must have had to leave her family to take care of someone else’s
The Infant Child plays a huge role in Blanche’s early life. As a result of her mother’s death, Blanche has a fearful temperament, and
Eva’s lack of value for motherhood shaped the lives of her family as well as her own. Because of her negative feelings toward motherhood, many of the people surrounding her have similar values. Eva reflects her community’s negative perception of motherhood by being straightforward about it and passing it down through her family
Though she consents to having her birthmark removed, Georgiana’s initial reaction to Aylmer’s shock at her facial defect is to redden “with momentary anger” before dissolving into tears (645); though her secondary reaction fits into the stereotypical female response to a physical critique, the fact that her initial reaction is anger implies that she is more than merely a docile housewife. However, her actions still reflect those of a docile housewife; when he confines her to a dimly lit apartment, she acquiesces solemnly and quietly spends her days doing as Aylmer
Stapleton, M. L. “’Loue my lewd Pilot’: The Ars Amatoria in The Faerie Queene.” Texas Studies in Literature and Language 40:3 (1998): 328-341.