Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Women in classical mythology
Women in greek epics
Women in classical mythology
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Women in classical mythology
The Lord of the Rings by J.R.R. Tolkien has been given high praise, yet a portion of the novel falls short for critic and that is the women of his world. Some have alleged that he paints an “old-fashioned, misogynistic depiction of women” (Neville 101).When his novel was published this was the accepted view of women. Therefore, are readers holding Tolkien to our moral standers today, not stopping to contemplate what society thought of women when this novel was written? Others have thought that his society shows women as “decorative but ultimately powerless, as pawns in a man’s world” (Neville 101). Much of Tolkien’s world comes from ancient Anglo-Saxon and Norse myth, thus again it would be understand that his women might fit this idea. Yet looking at the women in The Fellowship of the Ring, the idea that these women are powerless, pawns of men does not come to mind. Despite what numerous critics have supposed about the women in Tolkien’s world, they are not powerless pawns of men. Galadriel is one of Tolkien women that distant from a powerless pawn. One point to be made is that she has, “Nenya, the Ring of
Is the problem that readers have come to expect strong, independent female characters in Fiction that if a novel lacks it, any women in the story must be powerless, pawns of men stuck in misogynistic roles? Are Tolkien’s women closer to reality since most women are not this overpowering of strong defiantly independent women? Tolkien women can be seen as strong, brave and independent; he just does not push it as writers today do. Tolkien does not blatantly say that his women are strong and independent, this should not indicate that his women should be condemned to powerless, pawns of men stuck in misogynistic roles. The women of Tolkien’s world in The Lord of the Rings are far-flung from this powerless, misogynistic idea and should not be put down as
Changing Women's Roles in The Epic of Gilgamesh, Sir Gawain and the Green Knight and The Canterbury Tales
Women form an important part of the folk epic, written by Homer, The Odyssey. Within the story there are three basic types of women: the goddess, the seductress, and the good hostess/wife. Each role adds a different element and is essential to the telling of the story.
For the Greeks, Homer's Odyssey was much more than just an entertaining tale of gods, monsters, and men, it served as cultural paradigm from which every important role and relationship could be defined. This book, much more so than its counter part The Iliad, gives an eclectic view of the Achean's peacetime civilization. Through Odyssey, we gain an understanding of what is proper or improper in relationships between father and son, god and mortal, servant and master, guest and host, and--importantly--man and woman. Women play a vital role in the movement of this narrative. Unlike in The Iliad, where they are chiefly prizes to be won, bereft of identity, the women of Odyssey are unique in their personality, intentions, and relationship towards men. Yet, despite the fact that no two women in this epic are alike, each--through her vices or virtues-- helps to delineate the role of the ideal woman. Below, we will show the importance of Circe, Calypso, Nausicaa, Clytaemestra, and Penelope in terms of the movement of the narrative and in defining social roles for the Ancient Greeks.
Clashing swords, miraculous survivals, pain of loss, and heroic sacrifice are all terrifying yet thrilling moments in a battle. The strong possibility of death and the frailty of human life add into the suspense of battle. Yet the reasons behind the wars, death, and suspense can be overlooked. The stories behind the warriors who have died will not be told again, but the stories of warriors still alive are what give the men strength to continue fighting against impossible odds. Ultimately, the reason of why a man would risk his life in battle is for someone, or something, he loves. Like in Gilgamesh and the Iliad, women help encourage and influence the protagonists to be the heroes and protectors they are meant to be.
The women presented throughout The Odyssey provide a respectable representation of women in ancient Greece in general. There are several women introduced in The Odyssey, all of various backgrounds and social classes. The most notable women or type of women in this epic include goddesses, Penelope, and the housemaids and servants.
Women, on the other hand, play many more roles than men in this classic. Take Ninsun, the mother of Gilgamesh, for example. She plays the role of the loving, caring mother and also that of the wise counselor that provides guidance. From the very beginning of the book, Gilgamesh seeks guidance from his mother. When he has two dreams about an axe and a meteor, full of concern, he seeks the advice of his mother. At this point, she plays the role of the guiding, comforting mother by analyzing his dreams and relating the two objects to something good, Enkidu, that will soon come into Gilgamesh's life. "My son, the axe you saw is a friend...and I, Ninsun, I shall make him your equal. A mighty comrade will come to you, and be his friend's saviour..." (George, I, 288-291).
The struggle for women to play an important role in history can be traced from the ancient Mesopotamians to the 1900’s. There has been a continuous battle for women to gain equal rights and to be treated equally in all aspects of life. The Epic of Gilgamesh is the oldest recorded account of the roles of women and their importance in a functional society. Women have been viewed as anything from goddesses to unwanted servants throughout history, regardless of a variety of changes in rulers, religions, and simply time periods. The Epic of Gilgamesh might lead one to consider the roles of women a small and insignificant part compared to the man 's role. In fact, three women; Shamhat, Ishtar, and Siduri, were able to create and maintain a civilized Mesopotamian society with using their uniqueness of their body, mind, and spirit.
Homer’s epic, The Odyssey is one of the most influential tales to date. It is believed to be written during the twelfth century B.C.E and since then Homer continues to leave his audience in awe as he tells the story of Odysseus’ journey home after the Trojan War. This classic piece of Greek literature serves as a symbol for Greek culture. For example, Homer the relationships between host and house guest/parent and child/man and woman as well as the moral rules of ancient Greece. As the audience reads this epic they join Odysseus on his journey home and they are taught about the definition of heroism but, what is often over looked in this epic is the admiration he shows for women throughout this epic. His main character is Odysseus, yes, but he often highlights his wife, Penelope. She plays just as important role as Odysseus since she is his “love” and mother of son Telemachus.
The roles of women was an issue in medieval times and in The Canterbury Tales. In A Knight 's Tale, the women were portrayed as objects. To men they didn 't mean much. Women for them were there to help only when needed and didn 't hold an important role in society. Women were treated differently and had not much of importance.
It is often misread that women in Beowulf are presented as compliant to men, displaying them as the weaker gender of the human species. In the world of Beowulf, women serve as peace-weavers, cup-bearers, gift-givers and even monsters, all of which at first glance appear as inferior roles. Many examiners of Beowulf, who have touched on the role of women, have criticized on the words of Gillian R. Overing who believes they are "marginal, excluded figures." Although the women in Beowulf aren't as prominent as men are, they are not "excluded" from the picture as a whole. In fact, the roles these six women presented in Beowulf have, can be compared to real Anglo-Saxon women who held together nations, bring heirs and future generations into the world, all qualities that are necessary for the Anglo-Saxons to continue to strive. Wealhtheow and Hygd play the role of cup-bearer along with the political stance of queen allowing them to have equality among men. Freawaru and Hildeburh are what Anglo-Saxons consider peace-weavers which mend together nations if handled the right way. Then there are Grendel's mother and Modthryth who are described as monsters due to their aggressiveness as women, which is sought to be an unnatural trait that only males should hold. Lastly we have the few unnamed women that play roles similar or equal to the ones mentioned above but with little coverage or knowledge from the author for them to have no name. This essay will go further into the world of women in Beowulf and how their roles play in not only the poem, but also in Anglo-Saxon culture using Seamus Heaney’s translation.
One example of a woman who is oppressed by men in the text is Odysseus’ wife Penelope. Although Penelope is queen of Ithaca, her power in the kingdom is limited. Her life is controlled by her son Telemachus and the Achaean suitors who have been taking advantage of the kingdom for several years. At one point in the text, Telemachus tells his mother “Words are for men, for all, especially for me; for power within this house rests here” (Homer, 7). This shows how men regard themselves as the ones with power over society, while they undervalue women’s role within society....
For one, Tolkien is not sexist because he illustrates his female characters as growing individualists. Three of the most prominent of these female characters are Eowyn, Galadriel, and Arwen from the Lord of the Rings trilogy. Once Eowyn is knocked back from the rejection of Aragorn, she “must search for healing” (Enright 93). Because Eowyn is forced away from a companionship, she must learn to become an individual in order to be successful. The power of leadership is a motif throughout the stories of the Lord of the Rings and “Galadriel is a stronger embodiment of this power than her husband Celeborn”
In Feminism and Fairy Tales, Karen E. Rowe asserts that “popular folktales” have “shaped our romantic expectations” and “illuminate psychic ambiguities which often confound contemporary women.” She believes that “portrayals of adolescent waiting and dreaming, patterns of double enchantment, and romanticizations of marriage contribute to the potency of fairy tales” makes “many readers discount obvious fantasy elements and fall prey to more subtle paradigms through identification with the heroine.” As a result, Karen Rowe contends “subconsciously women may transfer from fairy tales into real life cultural norms which exalt passivity, dependency, and self-sacrifice as a female’s cardinal virtues suggest that culture’s very survival depends upon a woman’s acceptance of roles which relegate her to motherhood and domesticity.” It is undeniable that numerous folk tales implant male chauvinism into women’s minds and thus convey an idea that woman should obey and depend on men. However, Rowe neglects the aspect that many other folk tales, on the contrary, disclose the evil and vulnerable sides of man and marriage and thus encourage women to rely on their own intelligence and courage other than subordinating to man. The Fairy tales “Beauty and Beast” and “Fowler’s Fowl” challenge Rowe’s thesis to some extent and exemplify that some fairy tales motivate women to be intelligent and courageous and to challenge patriarchy.
...present powerful characters, while females represent unimportant characters. Unaware of the influence of society’s perception of the importance of sexes, literature and culture go unchanged. Although fairytales such as Sleeping Beauty produce charming entertainment for children, their remains a didactic message that lays hidden beneath the surface; teaching future generations to be submissive to the inequalities of their gender. Feminist critic the works of former literature, highlighting sexual discriminations, and broadcasting their own versions of former works, that paints a composite image of women’s oppression (Feminist Theory and Criticism). Women of the twenty-first century serge forward investigating, and highlighting the inequalities of their race in effort to organize a better social life for women of the future (Feminist Theory and Criticism).
In contemporary society, feminism is emerging as a theory of social construct. In literature it is often challenging to discover female characters that go beyond the limits of marginalized female stereotypes and roles as a means to transgress beyond societal norms. Women are characterized as subordinate objects, amid the dominant patriarchal nature entrenched amid the epic. In The Ramayana, women are portrayed as powerless objects that succumb to the manipulation of men as the text portrays a false empowerment of women, which ultimately succumb to common archetypes accustomed to women in literature; implementing a hierarchy of gender that institutionalizes male dominance amid female inferiority. The women of The Ramayana struggle to oppose the systemic patriarchy and pursue a pathway towards attaining dynamic elements of power, that enable their ability to embody autonomous authority. In Valmiki’s The Ramayana, while women appear to be empowered, ultimately they are feeble instruments utilized to fulfill the desires of men.