An Analysis of Egalia's Daughters

Households were strictly patriarchal in which the man of the house made all the important decisions. Women's jobs at the time were mostly relegated to domestic service and occasional work at harvest time. The jobs were always of low pay, low status, and required little training. In addition to this females were not legally permitted to inherit land or property. This was the bleak life of a woman, with little hope or power, and always the subordinate of men.

Publication of books and periodical revealed to the public the problems that women endured within their homes, education, labor, and health. In a male dominant society, men premeditated what roles women should play at home. Women were perceived as weaker than men, unable to think for themselves and their opinions were view as useless. Male dominating view of a woman’s role was to have no other aspirations but to take care of her husband, family and home.

Misogyny pervades the picture Aeschylus, Aristophanes, and Sophocles paint of Athenian society. In their literature, however, female characters catalyze plot by challenging this picture. Such characters--from Sophocles’ Antigone to Aristophanes’ Lysistrata--face grim consequences for acting independently. Clytemnestra and Cassandra from Aeschylus’s Agamemnon exemplify this archetype of autonomy and destruction. When they confront injustice, male characters perceive them as vindictive and hysterical. This paper will compare the standards of justice Aeschylus’s society imposes on men and women. I will argue that Clytemnestra and Cassandra are protectors of divine justice who reject subservience and thereby transcend the sexism of their society.

The main cultural issue this story focuses on is women’s right and how they’re viewed in society. Earlier in society as well as in third world countries women play a more home wife lifestyle which

Gender inequality has been a controversial topic for numerous religions and cultures throughout history. Women were commonly regarded as the subservient gender, an idea that was no different in Ancient Greece. Throughout Greek mythology, women were considered inferior and troublesome symbols, while men were known for courage, leadership, and strength. While there is no argument of the flagrant sexism that is illustrated in Greek mythology, it can also be claimed that women were given a situated position of freedom, necessity, and power as well. Many popular Greek plays and myths contain several complexes and well described female characters. These goddesses themselves, partook the role of victim, heroine, and villain as it illustrated the diversity of characters in which women were portrayed and seen in both Ancient Greek society and mythology, allowing us to question “Were the women of Ancient Greek mythology equally represented as free and superior?” The creation of the Greek mythological universe, the creation of multi-gendered goddesses or deities, and the free and superior personalities accredited to women in Ancient Greek mythology to answer the question that women were fairly represented as powerful in Ancient Greek mythology.

Egalia’s Daughters and “Sultana’s Dream” both portray examples of what it would be like to have gender roles reversed in societies. They both criticize gender roles and show people how gender discrimination leaves the submissive gender in suppressed conditions. Poking fun at gender role reversal was one way these books helped in educating the readers. “Sultana’s Dream” has a time of setting of the early twentieth century.

An expecting couple awaits to discover the gender of their baby. The nurse announces that it’s a girl. The couple is extremely excited, but do they truly grasp the weight of what this implies? Gender is not simply a physical trait, as it affects nearly every aspect of a person’s life. Stereotypes repress the potential in all men and women. The same stereotypes are found throughout literature such as Medea by Euripides, Chaucer’s “The Wife of Bath’s Tale”, “Sonnets” by Shakespeare, “The Yellow Wallpaper” by Charlotte Perkins Gilman, and Frederick Waterman’s “The Best Man Wins”. A common thread between these pieces is that power can be gained by those who are suppressed by defying gender stereotypes and social hierarchies.

In the 1800’s before the turn of the century it was male dominated world. Women were expected to marry and bear children. They were also supposed to stay home in order to tend to the domestic duties of cleaning, cooking, running errands and taking care of the children while the men went to work to make a weekly wage (Women, par. 2).

In his epic poem “The Aeneid,” Virgil details an account of how the great empire of Rome descended from a Trojan leader named Aeneas. It is an action-packed story, filled with tales from the hardships at sea to the brutality of warfare as Aeneas journeys to Italy following the downfall of Troy. Aeneas, the hero of the story, is depicted in mostly a positive light throughout the poem and shown portraying a wide variety of emotions and traits, some seemingly contrasting one another—from scorching, merciless anger to tender, affectionate love. While he is a three-dimensional, rather well-rounded character, Virgil depicts women throughout The Aeneid in a more one-dimensional, usually negative light, establishing a hint of sexism and misogyny throughout

Presenting literature to the public that is meant to be a commentary on social or political issues, masked under the guise of entertaining and fictional, is a tool implemented by authors and activists for centuries. While not all satire is as overt as Jonathan Swift’s suggestion that we eat the babies, it does not diminish the eyebrow raising suggestions that are conveyed once the meaning has been discovered. In Aphra Behn’s The History of the Nun and Eliza Haywood’s Fantomina, the established expectations of the female role within society are brought into question then directly rejected. These expectations establish that women should be deferential to men, morally unblemished, and virtuous at all times. Men, however, are not held to these expectations in the same way. The masculine roles assumed by Isabella and Fantomina demonstrate a private rebellion against the established patriarchal society as it warns against the under-estimation of women and proves that women exist independently.

The Blithedale Romance, written by Nathaniel Hawthorne, is a story of a twisted utopia. This perfect world is twisted in that the roles of gender have a traditional utopian representation, only with a more contemporary take. Of course, this is interesting because this book was written and published in the 19th century when such ideas were beginning to establish a form for the genre of writing. Hawthorne combines fantasy, philosophy, mystery, gothic, and even [what would be called today] science fiction. This novel illustrates the early break from even fresh ideas. The writing style allows for the "genderizing degenderizing" affect as well as nature of the self.

This can be seen in some of today’s societies as well. In the 1700’s, they were highly subjected to their sphere. This includes many duties such as; cooking meals, cleaning the house, and washing clothes. Men and women are formed by the “opinions and manners of the society they live in.” (160) This being said, men are thought of to be the providers for the family, while the women were always looked down upon to keep the house straight. In this period, it would be highly unlikely for the roles to switch for women. They appeared as the husbands ‘helpmate’ and were just there for order in the house. This was seen as a growing trend in the time period’s

Pomery begins the book by resummarizing the significance of goddesses from her first book, outlining the social functions of female Olympian figures. She does so by referencing Greek myths that express how goddesses are the stereotypical image of mortal women as they are envisioned by mortal men. These divine women show desirable characteristics across the board rather than just showing strengths in one area. This reflects the ideals of a patriarchal society. Demosthenes states in the fourth century B.C. this mantra among mortal men, “We have mistress for our enjoyment, concubines to serve our person and wives for the bearing of legitimate children (Pomery 1995).

In every society each gender’s behavioral response is often a reflection of the societal influences that have been instilled since birth. In every society each gender is subjected to certain roles. Males having to suppress their emotions while women are able to be emotional beings. Women being shunned for exhibiting characteristics of the opposite sex. Although, we live in a society that harps on individuality and self-expression, it is clear that this only applies when individuals do not feel inferior. Additionally, self-expression is only situational and accepted based off of certain agendas. In the following story, Porphyria’s Lover by Robert Browning, we are able to analyze how a male reacts to feeling inferior to a woman. In The Yellow Wallpaper, which is written by Charlotte Perkins, we are able to analyze how her husband’s lack of understanding and inability to communicate with his wife ultimately leads to her insanity. In each of these stories, gender roles are being depicted in a negative and positive way. Through the character’s actions were able to learn how society views each gender in the time in which the story takes place.

Surprise! Women have sexual desires just like men do. Roles set for women in the 18th century demonstrated the constrictions women endured. The idea of sex, status, and character to a woman depended on what men thought of them. However Eliza Haywood’s Fantomina demonstrates what occurs when the gender power roles are reversed and women are the dominant gender.