Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
The changing role of women in literature pdf
Feminism in LITERATURE ESSAY
Feminism in LITERATURE ESSAY
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Edith Wharton once stated that she “ . . . [doesn’t] know if [she] should care for a man who made life easy; [she] should want someone who made it interesting,” showing how Edith reflects Lily Bart, an unwed woman living in the midst of the elite society of New York, who struggles to find a suitable husband and live in the elite society that leads to her inevitable demise, in Edith's novel The House of Mirth (CITATION). Although many of the characters in the novel were in an elite and prominent society, they were possibly the most morally corrupt people since women married men for their wealth, and men expected women to constantly act proper and sophisticated. Edith Wharton’s modern novel The House of Mirth demonstrates why people in the …show more content…
This time period marked the ending of the Victorian Age, when women were usually considered the caretakers of the family and stayed at home to do tasks like raising their children, entertaining guests, and decorating the house, but the home gradually became the concern of both women and men. For example, male doctors and educators published manuals that gave advice on childbirth and parenting, subjects that before were exclusively studied by women. Also, both single and married women were also beginning to work at jobs that tended to reflect the domestic roles that women traditionally adopted; in The House of Mirth, Lily Bart is given a job in a hat-making shop with the help of her friends. The number of American women working almost doubled from about fifteen percent to almost thirty percent of the workforce between 1880 and 1910 (Moss and …show more content…
When later visiting Laurence Selden, Lily tells him, “I have tried hard—but life is difficult, and I am a very useless person . . . I was just a screw or a cog in the great machine I called life, and when I dropped out of it I found I was of no use anywhere else” (296; ch. 12). Lily now realizes how difficult it is to live unwed and without money, having to work without ever being taught the important skills needed to be self-sufficient. She recognizes that she had been just a small part of the elite society of New York, and when this society shunned her, Lily could not fit in elsewhere. The irony in The House of Mirth is that Lily dies believing that she has no marriage suitors and no possible way to rejoin the elite society of New York, but the day after her death, Laurence, a member of the elite society, visits Lily with the intention of professing his love for
Edith Wharton’s novel, The House of Mirth, is the story of a girl named Lily Bart trying to find a place for herself in society. Wharton used allusion throughout the book to aid the reader in understanding the events of the narrative. The following essay will highlight three allusions Wharton used, and explain how they helped the reader to understand the corresponding events from the book.
Prime examples of Edith Wharton's male characters. Such Wharton characters as Seldan and Archer are displayed, leaving their families in quest of their orator skills (i.e. they usually become Lawyers), and postponing marriage prospects until they are independently and financially settled. However, these men are never accused of sacrificing their relations, or too much for their art. Unfortunately, even in the literary world, men and women are depicted differently in terms of their relational expectations.
Edith Wharton, originally named “Edith Newbold Jones”(Cliff Notes), was born on “January 24, 1862 in New York City to George Frederic Jones and Lucretia Stevens Rhinelander Jones and died on August 11, 1937”(Cliff Notes). She was born into a wealthy family and was a “designer, short story writer and American novelist”(Cliff Notes). Wharton descended from the English and Dutch cultures. She had two siblings, one known as “Frederic Rhinelander Jones” (Cliff Notes) who was sixteen years older than her, and “Henry Edward Jones eleven years older”(Cliff Notes). While her brothers attended boarding school, Wharton became “raised as an only child in a brownstone mansion on West Twenty-third Street in New York City”(Cliff
Edith Wharton grew up with a wealthy family who lived in a controlling society which prohibited women to achieve anything a man could. This book, published by Wharton in 1911, is one of the few pieces in her fiction novels
In the novel The House of Mirth, Lily Bart is introduced to us as a rich, single lady in the 1900's. She is brought up into an upper class society, where the society is based on people that have "old money". In her society, people who want to climb the social scale, must have money, and must have power. If ever Lily were to talk to David from Call it Sleep, her views on climbing the social scale would completely be different than David's. Since Lily is in a totally different environment than that of David, and since she is an adult, her views are about how to survive in her upper class world. In order to survive in Lily's world one must have money, not simply be rich but one must have a certain kind of money. They have to have inherited money, called "old money", this is the first step to survive in Lily's community. In the book, we see that although Mr. Rosedale is a very wealthy man, he is outside the social circle because he does not have old money. He has new money, which shows that he is not part of a great, rich family. The second step to climb up in the social scale is to use other people for one's benefit. For a woman to climb up in this society, Lily says one must marry not for love but for money. If one marries into a wealthy family, than her status is automatically heightened to that level. A lady should marry a wealthy man, and a man must marry a beautiful lady to survive in the society.
In the first chapter of The House of Mirth, while drinking tea with Selden in his apartment, Lily says to him, “you can’t possibly think I want to marry you” (Wharton 10). This comment is stated and accepted without further explanation, because both Lily and Selden know that Selden is not wealthy enough to meet Lily’s expectations, even though it is apparent throughout The House of Mirth that Lily has feelings for Selden, and he for her. Linda Wagner Martin’s remark, “The poignant but all-too-real narrative of the beautiful Lily Bart, fast aging beyond marriageability” points to the fact that Lily Bart was in her late 20’s and was expected to have found a husband by that age (Wagner-Martin 6). Wagner Martin also claims that, “Wharton creates in The House of Mirth the impressionable character of Lily Bart, flowerlike in fragility as well as name, who has accepted the social decree that she become a beautiful marriageable object” (Wagner-Martin 4). The narrator of The Yellow Wallpaper points out that her husband is a respected doctor, and that he provides for her. Despite his controlling and dismissive treatment of her, she consoles herself with the thought that, “He said I was his darling and his comfort and all he had, and that I must take care of myself for his sake, and keep well” (Perkins Gillman). In exchange for perceived comfort, she is his
The tableaux vivants scene in Edith Wharton’s House of Mirth is pivotal to the understanding of Lily Bart as a character. The passage not only highlights her precarious state in high-society, but it also contains one of the only instances where Lily feels truly comfortable and confident. Over the course of the description of Lily’s staging of her own tableaux, she goes from being a piece of art on display, to an artist carefully working to exhibit her own beauty. However, the contradictory reception from the audience to her intentions when her tableaux is presented, conveys her hubris in both her beauty and her ability to create visual representations of art. The scene concludes with, Gerty Farish, in response to seeing Lily’s tableaux, saying,
“The Pastoralization of Housework” by Jeanne Boydston is a publication that demonstrates women’s roles during the antebellum period. Women during this period began to embrace housework and believed their responsibilities were to maintain the home, and produce contented and healthy families. As things progressed, housework no longer held monetary value, and as a result, womanhood slowly shifted from worker to nurturer. The roles that women once held in the household were slowly diminishing as the economy became more industrialized. Despite the discomfort of men, when women realized they could find decent employment, still maintain their household and have extra income, women began exploring their option.
The lily-of-the-valley is a common wildflower described as meaning “spring” and “purity” in Folklore and Symbolism of Flowers (Lehner and Lehner 120), and “symbolic of chastity” in The Language of Flowers (46). The lily is used by Wharton to capture the simplicity and purity of Charity prior to her sexual awakening. In Summer, Harney metaphorically snubs Charity as he rejected her fascination with the lily-of-the-valley pin. When Harney rejects the lily, he also rejects Charity, causing her to reevaluate the “mere trumpery” of the lily (Wharton 92), and herself. By extension, Wharton used the lily to foreshadow the coming rejection of Charity in favor of the more refined, elegant Annabel Balch. Following the encounter, Harney then suggests she choose the more refined blue pin, which can be interpreted as representing the higher class. By integrating the floral symbolism of the lily into the text, Wharton effectively foreshadows Harney’s rejection of Charity for her socioeconomic background and his abandonment of the relationship for Annabel
Nature, whether in the form of the arctic tundra of the North Pole or the busy street-life of Manhattan, was viewed by Naturalist writers as a phenomena which necessarily challenged individual survival; a phenomena, moreover, which operated on Darwin's maxim of the "survival of the fittest." This contrasted sharply with the Romantic view, which worshipped Nature for its beauty, beneficence and self-liberating powers. In Edith Wharton's The House of Mirth, Lily Bart attempts to "survive" within the urbane "drawing-room" society she inhabits. Although Selden uses Romantic nature imagery to describe Lily, throughout the novel such Romantic imagery and its accompanying meanings are continually subverted. By simply invoking different understandings and views of "Nature," Wharton demonstrates that not only is Lily's ability to "adapt" to various environments isn't necessarily salutary, but also that flower imagery, used in an ironic fashion, captures perfectly Lily's need for "climates of luxury." It is Wharton's image of a "hot-house," however, which ultimately captures the ambiguous nature of what, to Wharton, truly is Nature.
Wharton’s personal experience with loss of attraction has taught her that the use of circuitous language does not accurately portray the idea of romance. As she lived in a very unhappy marriage full of notions and conceptions she did not agree with, her perspective of what love should look like shifted. The new belief was that the benefits of igniting passion far outweighed any negatives. Following that train of thought is the idea as proclaimed by Julia Westall of “The Reckoning”, “the new adultery was unfaithfulness to self” (The Reckoning). In other words, you have to put yourself first to be happy, and because she was unhappy she made a solution. The resoluteness of the scene as Julia spoke reflects her convictions on the matter. Although her first husband John had been with her for years, all those years together living side by side only solidified feelings of disdain toward him and his way of living. The same goes for Edith Wharton herself, she lived for years with a very wealthy, incompatible man of whom she did not love. Rather than continuing to live a stagnant, unmoving life Wharton pursued passion and took that reignited flame with her toward her writing. This type of experience is best told in frank terms, not through a prolix of words that only succeed in causing confusion about
Like Alice, who divorced was twice. Another example of how Edith and this particular story is compares to her life is Alice’s daughter is sick with typhoid and when Edith was 10 she suffered from typhoid fever and almost died. Also like Lily and most children her age Edith Wharton also had a governess. Wharton’s main concept in the story was the theme of divorce and survival of the fittest. By having the other two men being around the current marriage and dealing with some of struggles of divorced and being able to survive New York’s
Edith Wharton was a writer in the 1900’s a time in which the social status of one was extremely importanant. Edith Wharton herself was a member of the upper class but she criticizes the importance that people place on it. Through The House of Mirth and her characters the reader can determine the people Lily sees and interacts with are the same clas and type of people that Wharton would see on a daily basis. In Edith Wharton’s The House of Mirth Wharton criticizes the values people place upon joining and remaining in the upper class. Lily, like many others, wants to be a part of this luxurious lifestyle; however her desire for wealth and social standing becomes her downfall. Wharton uses Lily as an example to illustrate how ones yearning for fortune and power will conceal from themselves what is truly important.
In the early 1900’s, around the time the story takes place; women were expected to be care takers of the home, to be clean, well dressed and mannered. All of these
period. In the Victorian period women were to clean, cook, take care of kids, and whatever her