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Characteristics of 19th century novels
19th century novels background
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José Maria Eça de Queirós, though not worldly renowned, is arguably the greatest Portuguese novelist of his time. In 1877, he wrote a novel titled “The Tragedy of the Street of Flowers” (“The Tragedy”); however, it was not published until many years following his death. The novel is a tragic love story about a cocotte (prostitute) named Genoveva de Molineux and a lawyer named Vítor da Silva. The story follows the love between these two individuals which ultimately leads to the death of Genoveva. When first appearing in the orchestra audience in Lisbon, every man was attached to her beauty and wanted to know her. Vítor falls in love with Genoveva at first sight without previous knowledge that she is a high-class prostitute. However, the tragedy begins when Genoveva is told by Vítor’s uncle, Timóteo, that Vítor is her son. Unable to cope with what she had just learned, Genoveva commits suicide; neither herself nor Timóteo disclose the truth to Vítor. When asked about the novel, Eça had stated that it is a cruel story, one of the best he had yet written (at that time) and “a real literary and moral bombshell” (Queiroz, preface, ¶ 3-4). “...nineteenth century writers knew that incest in Greek Tragedy represented the protagonist’s hopeless fight against fate. Finding a close correspondence with contemporary Lisbon society, aimlessly debating political, economic and social problems, unable to control the nation’s destiny, does not require a great stretch of the imagination” (Ponte 79).
In his literary work, Eça’s female characters are marked for life and are either weak or are prostitutes; in the case of Genoveva in “The Tragedy”, she is the latter (King and Sousa 200).
Through his paper entitled “Incest and the Female Character in Eç...
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... Experiences, c. 1600-c. 1800.” Beauty in History: Society, Politics and Personal Appearance, C. 1500 to the Present. London: Thames & Hudson, 1988. 89-181. Print.
Marwick, Arthur. “Beauty and the Growth of Entrepreneurial Society, c. 1800-c. 1905.” Beauty in History: Society, Politics and Personal Appearance, C. 1500 to the Present. London: Thames & Hudson, 1988. 220-233. Print.
Marwick, Arthur. “Personal Appearance and Life Experiences, c. 1800-c. 1905 “Beauty in History: Society, Politics and Personal Appearance, C. 1500 to the Present. London: Thames & Hudson, 1988. 224-260. Print.
Ponte, Carmo. “Incest and the Female Character in Eça de Queirós’ ‘A Tragédia de Rua das Flores’.” Portuguese Studies, Vol. 7 (1991). 78-85. Print.
Queirós, Eça de. The Tragedy of the Street of Flowers. Translated by Margaret Jull Costa. Sawtry: Dedalus, 2000. Kindle file.
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In Oroonoko, the hero is Oroonoko, the vice of the first part is the old king, and the second part white men in the colony. In contrast to their husbands, both heroines—Desdemona and Imoinda—seem more like "function characters" who are merely trapped in their husband's fates, occasionally becoming some motivation of their husbands (like Desdemona is Othello's motivation to rage, Imoinda's pregnancy drives Oroonoko restless to escape). While Shakespeare and Behn put much effort in moulding them, to many readers they are merely "perfect wives". This paper aims to argue that, Desdemona and Imoinda's perfect wifehood may be the product of compliance in male-dominated societies, where women are absolutely vulnerable.
In Kleist’s novella The Marquise of O, the narrative depicts the account of the Marquise of O’s, a young Italian window and a “lady of unblemished reputation”(Kleist 68), sudden impregnation and her subsequent attempts to solve the question of the paternity of her child. Through the contrasting interactions between the characters from the Marquise’s estrangement with her family to her eventual reconciliation, Kleist utilizes the search for her unborn child’s father to provide a social commentary on how tensions of uncertainty complicate the search for truth and identity within established gender relationships and traditional social constructs.
Eustacia Vye may be considered androgynous for her passion, rebelliousness, and refusal to accept the confines of Egdon. She exists in a state of untamed romantic emotion and fantasy, and has little concern for the effects of her actions. These characteristics of Eustacia make her less typical of women during the Victorian Era, but the scene in which her androgynous behavior is most evident...
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