Analysis Of Barbara Allan And Fair Margaret And Sweet William

It is human nature to have issues of balance within any relationship. For example, the knight, desperate in need, found an old woman who knew the answer to save his life. In order for him to receive vindication, he had to pledge his life to her. The old woman at last revealed the answer, that all women want sovereignty over their husbands and lovers (“The Wife of Bath’s Tale” 170-71). In contrast, Walter forces Griselda to be submissive at all times as he tests her loyalty and obedience by pretending to kill both of her children and asking for a phony divorce. One tale appears to suggest that the male should be inferior to his wife as the other tale promotes that the woman should be at least steadfast in adversity and obedient to her significant other. The issue of an unbalance relationship is still a part of modern society because the majority of people are familiar with the saying, “Who wears the pants in the relationship?” That joke derives from the struggle of dominance in a relationship. Yet the characters’ opinions of where they believe a woman belongs in a relationship are slightly polar; both stories are constructed around the theme of struggle in a relationship (“The Clerk’s Tale” 217-24).

The view presented in this essay is one that is also held by Mary Anne Ferguson in ”The Dominating Wife: The Bitch”. In it she argues that: “Bitches are not born: they are at least partly made by their environment, including the men in their relationships. Margaret Macomber’s open contempt for her husband may have been a result of the cowardice he exhibited except for a few moments in his short life”. But she misses the fact that even when he does show courage Margot does not seem happy at all. And it is also after his courage that he is shot by Margot, not when he is a

The roles of Mr. and Mrs. Bennet in Jane Austen’s novel Pride and Prejudice are contrasted between a father who cares about what’s inside of people and a mother who only worries about vanity and appearance. Mr. and Mrs. Bennet’s parental guidance is unique to their personalities. Because of their two opposing personas, Mr. and Mrs. Bennet’s ideas of marriage are contradictory for their daughters; Mr. Bennet believes in a loving respectful marriage whereas Mrs. Bennet values a marriage which concerns wealth and social status. Their aspirations for Lydia, Jane, Mary, Kitty and Elizabeth mirror their conflicting ideologies. Mr. Bennet seems to have a quiet deep love

Upon initial reading, the poem’s title, genre, and speaker offer a unique perspective on a normally exciting aspect of weddings: the dress.

of himself as an unwanted old bachelor and accordingly sets out to remedy the problem. The fact that he does not love Carol, whom he knows ?less than three weeks,? does not faze him in the least. Following the opinion of the 1950s, Carol, in his mind, becomes his ?competent housemaid? who will perhaps collect ?old pottery? and bake him ?little casserole dishes.? But Carol doesn?t mind. To be deemed ?complete? in the eyes of society in the decorum of marriage is enough for both individuals. In the characterization of Carol and Howard, who use each other?s presence as shields against judgment by a critical society, Gallant creates an amusing portrait of marriage as something that makes ?sense? with ?no reason?to fail? as long as both parties have ?a common interest? and ?[s]imilar economic backgrounds.?

When examining both Robert Browning’s, My Last Duchess, and Charlotte Mew’s, The Farmers Bride, the reader witnesses the poems positions of marriage in the natural world. Within both works, it is quite evident how each relationship is vastly different from the modern world, yet parallel it at the same time. Whether it be: the interactions between the two people or the conditions of the marriage, it is made more than apparent that both can be applied to modern conceptualizations of marriage.

39. O’Brien meticulously incorporates this chapter directly after “Sweetheart of the Song Tra Bong,” to portray the counteracting ideals of the role of women and femininity in both sections. In “Sweetheart of the Song Tra Bong,” the entire chapter is dedicated to discussing Mary Anne’s somewhat bolstering and heartening presence for Mark Fossie. It demonstrates the ideal view of women’s comforting role during the war and how they provided devoted their entire being in making their counterparts happy. In contrast,“Stockings” demonstrates the ideal of how soldiers were still reassured and remedied by women on the homefront who present the bare-minimum effort. This is ideal is exhibited by Henry Dobbins who is consistently alleviated and invigorated by his girlfriend’s stockings, yet in actuality, she hardy demonstrates affection and compassion for Dobbins, eventually ending their

Lastly the dependence of men plays an extremely large role in this book. Williams uses Blanche’s and Stella’s dependence on men to expose and critique the treatment of women during the transition from the old to the new South. Both Blanche and Stella see male companions as their only means to achieve happiness, and they depend on men for both their sustenance and their self-image. Blanche recognizes that Stella could be happier without her physically abusive husband, Stanley. Yet, the alternative Blanche

The value given to marriage in the 18th century is examined by Jane Austen in pride and prejudice. These values are further explored and evaluated by Letters to Alice. Pride and Prejudice shows the urgency and importance placed on marriage as a vehicle for getting wealth, social status, and a home for women of the 18th century. Letters to Alice brings new insight into the context surrounding the motives of marriage in Pride and Prejudice, whilst also providing insight into the marriages of Weldon’s own era. Charlotte Lucas is characterised as a woman not ‘thinking higher either of men or matrimony,’ but she still marries Mr Collins

This one Stanza poem allows the poem to be fast pace and unhindered with long drawn out accounts of abuse. The poem is not any less shocking however, to the contrary. The pace of this poem is fast and builds momentum as the words tumble out. The speaker recalls the terror of a child and the eventual hate and resentment of an adult “…how I am one fourth him, a brutal man with a hole for an eye and one fourth her, a woman who protected no one”(19) Here it becomes evident that the reader feels bitterness to the Grandmother also. It is not merely a hatred for men that we see but resentment towards a woman too, “and Grandma had never once taken anyone’s side against him”(19). According to Gaffery, this is a feeling that is harbored deep with Olds work (120).

Many wifes throughout the years have endured countless amounts of persecution from their husbands, but some men take it to a whole new level. Two male authors, Henrik Ibsen and Robert Browning, brought female hardships to light in the nineteenth century. Ibsen’s 1879 play, A Doll’s House, was so controversial at the time that he was forced to write a more pleasant ending in which Nora returned after having left Torvald. Browning’s poem, “My Last Duchess”, written in 1842, showed the immoral perspective of a Duke who had his wife murdered merely because she did not preserve her pleasant personality singularly for him. It was influential writers such as these who eventually gave feminism a kick start. The two husbands in these stories share a vast amount of similar characteristics. Despite the fact that Torvald loved his wife, and Duke had murdered his, both of them exhibit extreme authoritative and egoistic behaviors.

John Collier’s ‘The Chaser’, a short story that follows Alan Austen, a character who shows typically feminine or androgynous traits, displaying Alan being timid, easily manipulated, cowardly, and inevitably, the harbinger of his own destruction. ‘The Chaser’ features Alan seeking out an old man for a love potion to make Diana fall in love with him. From a sophisticated gender perspective, ‘the Chaser’ is shown to be patriarchal to start, with androgynous areas that end with the story being heavily androgynous. Based on text in the story and underlying themes, ‘The Chaser’ is Feminine and Androgynous, and Austen displays Feminine androgynous traits heavily by the end of the story.

       As the tale begins we immediately can sympathize with the repressive plight of the protagonist.  Her romantic imagination is obvious as she describes the "hereditary estate" (Gilman, Wallpaper 170) or the "haunted house" (170) as she would like it to be.  She tells us of her husband, John, who "scoffs" (170) at her romantic sentiments and is "practical to the extreme" (170).  However, in a time

A man resembling a lawyer stands by the window holding a packet of papers that read “A Plan of the New Building of the Right Hon…” and looks outside to the magnificent Palladian-style building-in-progress. Construction has come to a halt, undoubtedly due to lack of funds, hence the necessity for the Earl to marry his son to a wealthy (if untitled) man’s daughter. The man standing with the bride-to-be wears a lawyer’s black gown and white wig. His employment shows the weight and importance of the two parties to the marriage (Webster 104). His presence and that of the other two men (most likely lawyers as well) lends an air of officiality to the scene and the ensuing misery that is to come. The unhappy bride-to-be sulks in a chair, threading her handkerchief through her new wedding ring while the lawyer pays more attention to her than her future husband does. The viscount is seating next to his fiancée on a small sofa but has turned away from her to look at his own

In Oscar Wilde’s play, he showed the upper class had many requirements for potential wedding partners, wealth being a key requirement. He also showed that women weren’t allowed to marry outside of their class, even if they loved the person. Overall, the text above shows that marriage was different for the lower and upper classes of society.