Analysis Of George Eliot 's Adam Bede

Dorothy Z. Baker’s article, “‘Detested Be the Epithet!’: Definition, Maxim, and the Language of Social Dicta in Hannah Webster Foster's 'The Coquette,'" discusses the language used in the letters to, from and regarding Eliza Wharton in Hannah Webster Foster’s novel, The Coquette. Baker finds that Foster intentionally edits the letter’s language, leaving only condemning “social dicta,” and sealing Eliza’s fate as a “coquette” (58). Baker analyzes the conversation language used in The Coquette, and exposes Foster’s subtle choices, which, in turn, condemn Eliza. She notes that Foster omits excessive detail, limiting description to short phrases such as: “Mrs. Richman watches her cousin ‘with a jealous eye’; Sanford appears ‘mortified and chagrinned’; and Miss Laurence's countenance ‘indicates not much soul’” (58). In her article, Baker claims that “[Eliza’s] early expression is relatively free of expected epithets and conventional maxims, because the ideas that she expresses are not aphoristic,” and therefore Foster automatically infers that Eliza is merely a confused, naive individual who is never given a chance to defend herself (59).

As C. Sykes examines Victorian literature in his essay, he recognizes that many authors reveal gender issues. While some define characters by his or “her marital status,” others reveal inequality through “female capabilities” (Sykes). Victorian literature, like Bronte’s Jane Eyre, reveal gender

Miss Mary Bennet, “the only plain one in the family, [who] worked hard for knowledge and accomplishments,” (Austen 11) provides her readers with another perspective of the female sphere. Even at the Netherfield Ball, young Mary occupies herself at the piano, connecting rarely with others, and even more rarely dancing with a gentleman (Austen 48). Unlike her sisters, Mary Bennet has no preferences on males; “what are men compared to rocks and mountains” (Austen 73). Her devotions in her youth are centered in accomplishments, such as piano playing, and going to town with her mother and younger sisters to gather gossip on their neighbors and the regiment (Austen 27). In her own way, Mary conforms to her societal expectations of growing up

Sexuality has an inherent connection to human nature. Yet, even in regards to something so natural, societies throughout times have imposed expectations and gender roles upon it. Ultimately, these come to oppress women, and confine them within the limits that the world has set for them. However, society is constantly evolving, and within the past 200 years, the role of women has changed. These changes in society can be seen within the intricacies of literature in each era. Specifically, through analyzing The Scarlet Letter by Nathaniel Hawthorne and The Bell Jar by Sylvia Plath, one can observe the dynamics of society in regards to the role of women through the lens of the theme of sexuality. In both novels, the confinement and oppression of women can be visibly seen as a result of these gender roles. Yet, from the time The Scarlet Letter was published to the time The Bell Jar was written, the place of women in society ultimately changed as well. Hence when evaluating the gender roles that are derived from sexuality, the difference between the portrayals of women’s oppression in each novel becomes apparent, and shows how the subjugation of women has evolved. The guiding question of this investigation is to what extent does the theme of sexuality reflect the expectations for women in society at the time each novel was written. The essay will explore how the literary elements that form each novel demonstrate each author’s independent vision which questions the

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.

To continue the idea of feminism on a rise, sexuality over repression is revealed through Edna’s dialect and actions express her true emotions about her sexuality with little regard to other people’s perceptions of her. As many women are soon to follow, Edna chooses art over the typical domestic duties during her daily life by going against what society is expected of woman during her time. As Edna’s character continues to develop, she manifests the quintessential model of a feminist throughout the novella.

In Ian McEwan’s ‘Enduring Love’, Ken Kesey’s ‘One Flew Over The Cuckoo’s Nest’ and Sylvia Plath’s ‘Ariel’ Collection, the themes of gender and identity are clearly linked. Kesey and McEwan explore gender and identity through the male perspective and consequently present themselves as misogynists through their texts in their deleterious portrayal of women who do not adhere to what tradition dictates is ‘ideal’. Plath, on the other hand, presents the female perspective, providing readers with an alternative view, that of the female sufferer. However, in her portrayal of men, Plath comes across as a misandrist, and hence readers are exposed to biased views from both the male and female perspective. All three writers incorporate controversial matters in their exploration of gender and identity and depict how sexual identity is constrained due to society’s norms and values, and events that had occurred and influenced opinion.

Dinah’s defilement is validated and recognized and avenged, giving expression to her helplessness in the entire situation. God, with his silence and allowing of this slaughter recognizes Dinah’s plight, that the victim is deserving of more than

As this story begins, Mr. Wright has been murdered and his wife the star witness. The evidence is slowly breaking down their so called case. Women of this time period were not treated like men, a woman was only good when she was slaving for her husband and his needs. As Emily Dickinson once wrote “Hope is the thing with feathers/ that perches in the soul/ and sings the tune-without the words, / and never stops at all.” Mrs. Wright used to sing but Mr. Wright did not like that and forced her to a quiet. Mr. Wright was a bitter old man playing a gentleman; never taking a liking to kids he stole her hope for children, leaving her baron in her womb and her heart. He was a control maniac and demanded power in every aspect of this poor woman’s life; No Children, No Song, No Friends; she had nothing, which meant nothing to lose. In Susan Glaspell’s drama, “Trifles”, we explore the gender inequality between men and women of that time and why that has such a large influence on the murder investigation.

In “‘A Language Which Nobody Understood’: Emancipatory Strategies in The Awakening,” Patricia Yaeger questions the feminist assumption that Edna Pontellier’s adulterous behavior represent a radical challenge to patriarchal values. Using a deconstructionist method, Yaeger argues that in the novel adultery functions not as a disrupting agent of, but, rather, as a counterweight to the institution of marriage, reinforcing the very idea it purports to subvert by framing female desire within “an elaborate code [of moral conduct] that has already been negotiated by her society.” A reading of The Awakening that can envision only two possible outcomes for its heroine – acquiescence to her role as

A unique characteristic of Cleland’s engagement with female virtue is his recognition of rethinking morality. After all, when people think about morality, engage in current ways of conduct in their society, and perhaps recall the very first teachings of ‘value,’ these ideas are very frequently conventionalized in their minds. The difference between right or wrong become sites of their first understanding of morality and, in turn, attain their own significance for those who taught them those values. Beyond this association with morality and the person or society who taught them the difference between right or wrong, morality is frequently constructed along stereotype: images of ‘good’ is fixated on social acceptability, and definition of ‘good’ is a cause of conflict. This is especially true of Fanny Hill in Memoirs of a Woman of Pleasure and her ways of realizing female virtue as a prostitute. Cleland distinguishes female virtue through the narrator’s environment, origins and their effects, and her appreciation. His attention to her mind, insofar as what her mind accomplishes through oppressive mental experiences, contrasted with her body, which is subject to judgment by physical transgressions, represents a different way of looking at female virtue.

Ever the keen social observer, Jonathan Swift (1667 – 1745) often expressed his reservations about the competences of the female mind through satire or by employing alternate literary voices. However, his ridicule of the female condition does not entail that he was simply a crass misogynist. In reality, the satirist scorned humanity in general: both men and women were unable to escape his seething misanthropy. Swift’s moral satire includes three notorious poems: “The Lady’s Dressing Room,” (1730) “A Beautiful Young Nymph Going to Bed,” (1731) and “Strephon and Chloe” (1731). Human beings tend to delude themselves and see order and beauty where none exists, yet in these poems both the male subject and the reader become disillusioned over the discovery of female humanity. Therefore, Swift seems to imply that life based on delusion usually ends in bitter disappointment, and thus attempts to free us from our prejudices and the futile denial of our basic nature. Furthermore, the author finds in Esther Johnson, or “Stella,” the perfect example of the redemption he aims to imbue in the rest of humanity. Thus, through his poems concerning women, especially Stella, Jonathan Swift reinforces his belief that all humans – even women – are capable of bettering themselves.

Jane Eyre is a novel written by Charlotte Brontë. It is distinctly a female Bildungsroman, as it follows the progress and growth of Jane’s character on her quest for selfhood and independence in a society that tries its best to impress upon her the roles and expectations of women in the Victorian era (which is neatly packaged in the figure of the ‘Angel-in-the-house’.) This is something with which this essay seeks to engage by looking at female figures which feature prominently in Jane’s life, how those who embrace the figure of ‘Angel-in-the-house’ are treated and viewed, versus those who do not. Furthermore, important male figures will also be looked at in order to understand Jane’s own feelings to the ‘Angel-in-the-house’ figure and how she approaches it, as well as how the Byronic hero might relate – if it even does.

Middlemarch, A Study of Provincial Life is a novel by English author George Eliot, first published in eight instalments during 1871. The novel is set in the fictitious Midlands town of Middlemarch during 1829–32, and it comprises several distinct stories and a large cast of characters. Significant themes include the status of women, the nature of marriage, idealism, self-interest, religion, hypocrisy, political reform, and education.

The role of women in the society is always questioned and for centuries, they have struggled to find their place in a world that is predominantly male oriented. The treatment of women was extremely negative; they were expected to stay home and fulfill domestic duties. Literature of that time embodies and mirrors social issues of women in society (Lecture on the Puritans). But, slowly and gradually, situation being changed: “During the first half of the 19th century, women 's roles in society evolved in the areas of occupational, moral, and social reform. Through efforts such as factory movements, social reform, and women 's rights, their aims were realized and foundations for further reform were established” (Lauter 1406). Feminist poets like Emily Dickinson and Anne Bradstreet talked substantially about feminism in different lights in the past two centuries. They were very vocal and assertive about their rights and the ‘rights for women’ in general. While they might have been successful at making a good attempt to obliterate gender biases but still there are lot of disparities between the two genders. Nevertheless, their poetry reflects a deep angst.