Furthermor Again By Dorothy Mermin

Can you predict if it was the last day of your childhood and freedom? Lucia and her family couldn 't. Lucy Lipiner’s haunting memoir “Long Journey Home” documents when Nazis invade their homeland and forced them to flee away and find shelter. With limited options on where to go, their family stays together throughout the strenuous journey to find safety throughout Europe to America. This memoir tells in detail the mental and physical struggle to get to safety and freedom. Even when tumultuous events occur, you still have a chance to become resilient no matter what circumstances. To illustrate this theme, Lucy Lipiner uses extensive imagery.

H. Bertens describes female stereotypes to come under four labels “an immoral and dangerous seductress, the woman as the eternally dissatisfied shrew, the woman as cute but essentially helpless, the woman as unworldly, self-sacrificing angel and so on.” These labels were commonly found in both androtexts and gynotexts as feminist criticism’s attention drew towards female writers by giving them more prominence and esteem, yet they were found to both reject the traditional female form and “succumbed to the lure of stereotypical representations.” Christina Rossetti was one who was found to come under such scrutiny with her poems ‘Maude Clare’, ‘No, Thank You John’, and ‘In an Artist’s Studio’ to convey differing constructions of women.

There is significant evidence throughout both 'The Long Queen' and The Map Women' to indicate that suffering is a central element of female experience. Both poems are present in the 'Feminine Gospels' written by Carol Ann Duffy. The collection of poetry is seen to be teachings of feminism aiming to provide the reader visions of female identity. One feature of this identity that is examined within these two poems is the theme of mental and physical suffering that women universally endure.

There is significant evidence throughout both 'The Long Queen ' and The Map Women ' to indicate that suffering is a central element of female experience. Both of these poems are present in the 'Feminine Gospels ' written by Carol Ann Duffy. The collection of poetry is seen to be teachings of feminism aiming to provide the reader visions of female identity. One feature of this identity that is examined within these two poems is the theme of mental and physical suffering that women universally endure.

Patriarchal culture has dominated society throughout history. Males have control in many aspects of life and women have continued to fight for equal rights in society. There are many ways women have contributed to the fight for equality; some more physical and other less abrasive. Education and Literature gave the voice to a few women in a male-centered world. Poet Lady Mary Wroth captures the injustices experienced by women in the feminine narrative of Sonnet 9 from her collection of sonnets, songs, and lyrics entitled 'Pamphilia to Amphilantus. In this poem, Wroth explores the thoughts of elite women in the 1700s and uses aspects of her own cultural and historic circumstance to convey the theme of a religious patriarchal society.

Friendship is a blessing, people say, and it is. Men often express their appreciation and respect for male friends through literature. A fellowship, medieval authors call it. A deep and unbreakable connection between males, transcending romantic love. A relationship based on mutual support and admiration, thriving of intellectual stimulation. Nothing is more valuable to a man than a friendship, not even the love of a woman; it is only a man, after all, who can understand another man. To seventeenth century men, friendship (just like everything else) is a male blessing – a patriarchal gift – not for women. Female friendship was “impossible,” for an amicable and supportive relationship between women could never exist. Platonic friendships existed between men, not women. Yet, several female poets challenged this notion, emphasizing importance of female friendships as male authors and poets do. Friendship is defined through a feminist lens in Aemilia Lanyer’s “The Description of Cookham” and Katherine Philips’ poetry in which female characteristics that are often overlooked are deeming meaningful through friendship.

Can you predict if it was the last day of your childhood and freedom? Lucia and her family couldn 't. Lucy Lipiner’s haunting memoir “Long Journey Home” documents when Nazis invade their homeland and forced them to flee away and find shelter. With limited options on where to go, their family stays together throughout the strenuous journey to find safety throughout Europe to America. This memoir tells in detail the mental and physical struggle to get to safety and freedom. Even when tumultuous events occur, you still have a chance to become resilient no matter what circumstances. To illustrate this theme, Lucy Lipiner uses extensive imagery.

Gender roles within society have changed continuously over time, and with the use of primary sources, it can be seen first-hand what it was like during the time in which it was written. In the source, “Parallel Qualities of the Sexes,” the opinion of one writer is seen through the poem. Because this is just one person’s opinion, it is important to determine whether or not the statements made are truthful to the time period in which it was written. There are a number of questions to be taken into consideration when deciding whether or not a source is or is not credible, such as the gender of the writer, who the audience is, and what can be presumed about the author through the work itself. The credibility of the source then relies on the

However, the self-deprecating tone she has been carrying is not yet put to rest. She writes, “Men can do best, and Women know it well,” which makes the poem a bit less scandalous, but to some may seem to be thickly laced with sarcasm (37). She tells the readers that men were, by nature, given the tools to succeed rather than women, yet still manages to demand that men acknowledge that women are capable writers as well with “Yet grant some small acknowledgement of ours” (42). The concluding stanza also attempts to earn women the right to play the same game as men, while also trying not to make the men feel threatened. Bradstreet writes that the men can keep the bays of a great poet, her speaker would rather have a wreath made out of typical cooking spices.

Great writers convey their message without bluntly stating it to their audience. Hardy’s insightful poetry conjures the minds of his audience and encourages them to reflect on how inhumane the social classes were and how poorly women were treated without every saying it. Because of its’ simplicity and relatability Hardy’s clever use of an everyday conversation between two women is more powerful than any lengthy lecture or straightforward statement he could have given.

In Object Lessons, Eavan Boland claims that poetry is fundamentally gendered—and is thus flawed—because of its tendency to encourage the poet to objectify female subjects through the use of “metaphors, invocations, similes, and muses,” as well as through “custom, convention, language, [and] inherited image.” (Boland 27-28). That is: she believes that it is natural, almost instinctive, for both male and female poets to embrace a certain style of writing in their poetry which unfairly forces the women they write about into a passive, rather than active, role. While this is in some sense true, Boland’s argument nevertheless fails to consider the possibility that a poet may make such a stylistic choice intentionally and strategically—using it in a way that is both constructive and crucially important to the overall message of the poem. In “A Prayer for My Daughter,” W.B. Yeats does just that. Specifically, he objectifies his daughter through the use of metaphorical language, perpetuation of female stereotypes, and upholding of patriarchal customs all for the pure purpose of expressing his love, hopes, and dreams for her—therefore proving that the presence of gendered language in poetry can in fact be a poet’s deliberate choice rather than something that he uses subconsciously or automatically, as Boland seems to suggest.

Many great literary and artistic geniuses have been troubled with deep melancholy and phrenic illness. Anne Sexton is an example of a poet with such quandaries who utilized her personal despair to inspire her poetic works. Sexton’s raw material on the inequality of women in a flawed society has sprouted an uproar for change.

An alternative perspective on women’s inability to achieve a rapport with men in an intellectual space is through the Victorian literary canon. For instance, authors such as George Eliot (Mary Anne Evans) used male pseudonyms to publish their work. They did this in-order to escape the stereotypes of female writers only being able to create Romantic novels rather than serious psychological and satirical dramas. In this way, George Eliot reflects the struggle of the female SAOs not being considered as “tough enough” to accurately handle serious material in the Education Board. This also demonstrates how females often had to compromise to fit a male view in-order to be publicly successful. In contrast, George Eliot has the agency to present her

The Victorian era was characterized by a strict patriarchal society that imposed oppressive ways of life and moral codes on its women. Because women were considered to have belonged primarily in the domestic realm, the traditional and ideal Victorian woman was the passive, pure, and virtuous “angel in the house.” Women were expected to maintain their virginity until marriage, and expressions of female sexuality or promiscuity were of moral outrage and came with serious consequences. Accordingly, Robert Browning uses this idea of female sexuality and its costs in several of his dramatic monologues. Close readings of Browning’s poems “Porphyria’s Lover” and “My Last Duchess” reveal how female subjects are victimized by their male counterparts

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.