Character Analysis: A New England Nun

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 Canterbury Tales features a character called The Nun (The Prioress). Chaucer describe her as a friendly and charitable Nun with a big heart, but also makes fun of her actions and looks. For example, “And she spoke daintily in French, extremely, after the school of Stratford-atte-Bowe, French in the Paris style she did not know.” (128-130). In addition to the blatant negativity he mentions “She was very entertaining” (141). He makes fun of her then mentions she is very entertaining as if she is entertainment to him. Her flaws and attitude are seen very clearly through the passage such as her bad french and table manners. This being said the Nun is told to be lower on social ranking. “To counterfeit a courtly kind of grace a stately

“The most memorable characters in fiction are not people most of us would choose as our friends” (Allen 1). Readers find it intriguing to learn about a character that lacks predictability: they could do no wrong in one scene, then turn around and become a backstabbing liar in the next. The same characteristics that would not make the best of friends. Irregularity makes a character and the story, for that matter, interesting. Abigail Williams from The Crucible develops into a character that readers love to hate. Her anger, her cunning, her passion, every twist and turn she brings throughout the play brings fascination with it. She would not be an especially remarkable candidate for a best friend, however, but it perusers find it extremely easy to remember her. Abigail exhibits memorability not because of the qualities that prove a good friend, but because of her intransigence, her passion, her accusatory behavior, and her manipulation.

2. Using the evidence you found during your reading, summarize the background of this case in three complete sentences.

4.How does Judge Jean Boyds reasoning in the local newspaper (in regards to why he didnt send Ethan to jail) relate to the novels to Kill a Mockingbird when Boo radley got in trouble? Use an examples from the article for your first piece of evidence, and an example from TKAM (pages 12-14) for you second piece of

3. “He has endeavored, in every way that he could, to destroy her confidence in her own powers, to lessen her self-respect, and to make her willing to lead a dependent and abject life.”

b. Is there a part that explains any background information that the reader needs to know in order to be able to understand the answer to the central question or argument that the composition offers? If so, where does this section begin and end?

Abigail Williams is a manipulative, vengeful 17-year-old girl that will do whatever it takes to get what she wants. Abigail is the antagonist in the play, The Crucible by Arthur Miller. She lost her parents at a young age, and has been living with her uncle for several years. Abigail is directly responsible for the mass hysteria in Salem, which caused innocent people to become accused and executed. She deeply cares about protecting her reputation, even though she had an affair with a married man. Some people may defend Abigail’s character for various reasons. However, her actions throughout the play prove that she is a selfish, villainous character.

5. Bandwagon-The writer of this paragraph tries to establish a claim that television causes children to be more violent without giving the evidence to support this claim. The writer just states some recommendations for preventing media

In the 19th century, expectations were very different for men and women. Men were expected to be more in the public view such as going to work and socializing with other men in clubs, meetings or in bars. Women were expected to live their lives mostly in their home cooking, cleaning, and child rearing. For women they were not to socialize in their free time, they were expected to do other things to “better” the home such as sewing socks or doing laundry. Very few women had the same educational opportunities as men. “The Yellow Wallpaper” and “A New England Nun” are very good examples of how things were for women and the American culture at the turn of the century and in each of these stories the women were able to defeat the patriarchal culture represented in their husband and soon to be husband.

In each of these selected pieces, the woman’s position is dependant in some form to the male figure. Each work deals with conflicting views of the female protagonist and the expectations of their male counter-character, though each has a differing outcome that correlates to the woman’s reaction to this male supremacy. “A New England Nun” features Louisa and Joe Dagget, who come to a mutual agreement to call of their engagement. This ending follows closely with realism, as there is a healthy development and closure to the conflict. Then, Hemingway’s “Hills Like White Elephants” has possibility of development, however, the loose end does not establish any sort of progress. This piece ends with the American asking if Jig is alright, to which she smiles and states she’s fine (. Despite the fact that there is no closure to this particular ending, there is a chance that Jig does defy the American’s wishes. Lastly, Brooks’s poem “A Bronzeville Mother Loiters in Mississippi. Meanwhile, a Mississippi Mother Burns Bacon” follows the chaos and self-conscious characteristics of postmodernism, as the white woman’s thoughts of the “Fine Prince” evolve from submissive denial to hatred, over the course of the piece. Although these pieces end quite differently, each portrays a woman that is submissive in some way or another at a point in the story.

Independence is an empowering state where one feels no need to rely on another. In the short story “A New England Nun,” Mary E. Wilkins Freeman demonstrates the internal struggle of a woman accustomed to being solitary that she feels confined by her upcoming marriage. The author presents the characterizations effectively through Louisa’s internal independence, the comfort she has with her household, the relationship she built with her fiancé and the connection she has with her late brother’s dog.

Chaucer's "The Nun's Priest's Tale" is at once a fable, a tale of courtly love, and a satire mocking fables and courtly love traditions. To this end, Chaucer makes use of several stylistic techniques involving both framing and content. The tale begins and ends with "a poor widwe somdeel stape in age" (line 1), but the majority of the content involves not the widow but the animals on her farm, in particular an arrogant rooster name Chauntecleer. The first mention of the main character does not come until the twenty-ninth line, after twenty-eight lines of minute description of the widow and the farm. The donation of large amounts of time to detail slows down the plot of the story; this plot is even further drawn out by the Nun's Priest's

The “General Prologue” provides us with no evidence as to the character of the Nun’s Priest. Only in the prologue to his tale do we finally get a glimpse of who he might be, albeit rather obtusely. As Harry Bailey rather disparagingly remarks: “Telle us swich thyng as may oure hertes glade./Be blithe, though thou ryde upon a jade” (p.235, ll2811-2812). I say this cautiously because much criticism has surrounded the supposed character of the Nun’s Priest, his role in the tale, and his relationship to the Canterbury Tales as a whole. One example, in my opinion, of an unsatisfactory reading is exemplified by Arthur Broes’s 1963 article “Chaucer’s Disgruntled Cleric: The Nun’s Priest’s Tale.” Broes argues that the Nun’s Priest is an “erudite

      In the General Prologue to the Canterbury Tales, Chaucer describes the men and women of the Church in extreme forms; most of these holy pilgrims, such as the Monk, the Friar, and Pardoner, are caricatures of objectionable parts of Catholic society.  At a time when the power-hungry Catholic Church used the misery of peasants in order to obtain wealth, it is no wonder that one of the greatest writers of the Middle Ages used his works to comment on the religious politics of the day.