Hurr Difference In The Opening Chapter: Tarr Conversation With Bertha

Lewis’ use of repetition as he explains the purpose of the Opera to the characters reveals his changed attitudes towards women and relationships, and values the idea that Henry has love and commitment. The juxtaposition of ‘comedy’ and ‘tragedy’ capture the context the play was set within as this was a time when free love seemed to be valued over fidelity and

Compare the views of relationships in ‘The Unequal Fetters’ with those in ‘To his Coy Mistress’. What is suggested about the different ways in which men and women view love?

This article analyzes the way Austen portrays women in her novels. Kruger mentions that Jane Austen’s work is often deprived by the

His image was formerly of the utmost importance to him: he arrived late to the Opera because it was “the thing” to do (Wharton 4) and “few things [seemed to him] more awful than an offense against ‘Taste’” (Wharton 12). When Ellen, the black sheep of the Mingott family, made an appearance at the Opera, Archer at first becomes annoyed that this “strange foreign woman” was attracting negative attention to the box of his betrothed, May Welland, and agrees with fellow high society onlooker, Sillerton Jackson, that the Mingotts should not have “tried it on” (Wharton 10). But, upon spending time with Ellen, Archer’s pretentiousness begins to dull and his self-alienation from the rules of society begins. During a dinner with Sillerton Jackson, Archer defends Ellen and even goes so far as to say that “Women ought to be free – as free as we are,” though he was painfully aware of the “terrific consequences” his words could bring (Wharton 34).

This negative perception of Agnes is exacerbated by her “excellent intellect, and strong knowledge and understanding of Christianity"; the public believe that a “thinking woman can’t be trusted”. The reader can observe that both the authorities and public show a distinct lack of compassion regarding Agnes because she does not fit their traditional ideas of what women should be – they believe that “there’s no room for innocence” in intelligent women. The misogyny and bias present in this uncompassionate society is further demonstrated through Kent’s intertextual incorporation of the one dimensional historical documents which vilify Agnes. Kent uses the judgemental, evil and “powerful” character of Blöndal as a vehicle to personify the patriarchal ideologies of their society. Blöndal’s punitive, intransigent approach to authority as well as his attitude of superiority when addressing woman represents the general cold indifference of Icelandic society in which “Men may do as they please”. Furthermore, Kent’s utilisation of Agnes’ first person narrative is extremely effective and allows the

He knew nat Catoun for his wit was rude, that bad man sholde wedde his similitude” (Lines 113-120). Absolon on the other hand just wanted sex, and as much Alisoun despised him he would not stop stalking her. The Miller’s tale is cynical, because love is either misguided or lust and humans often are confused between the two. The author wanted to point that humans must know the difference or else the outcome would most likely be devastating thus leading to one’s own fault. While others might say this theme was not about love, but more about sexual desires, it was not the case. Sexual desires was only part of the theme because sex has always been alined with love in every relationship good or bad. Chaucer want readers to get past the sexual imagery and look at the love theme which incorporated in this story. The love theme represented the trouble behind human minds and how lust can be confused as love.

In Middlemarch, George Eliot utilizes several literary devices to portray her two characters and their complex relationship that reveals their marriage is dominated by the husband who objectifies his wife into silence. Throughout the passage, Eliot makes it clear that Rosamond and Tertius Lydgate are in an uneven relationship, considering Tertius refuses to listen to his wife who seems to only have his best interest at heart, yet still, he continues to yell at her for thinking she knows what is best for him. With the help of details, Tertius’s critical tone, and imagery, Eliot is able to showcase how complex their relationship is when it comes to Rosamond giving her opinions and ideas, just to be casted to the side.

As a means of assessing the extent to which the work was successful, I evaluated the books ability to answer the questions the author himself posed to the audience. These questions were discussed in the introduction where Ozment presented two questions before he launched into the narrative in search of their answers. Ozment asked: “What exactly had [Anna] done to cause her father, the Burgermeister, to denounce her as an “evil serpent” and the government of Hall to declare her a renegade?” and “Why did the behaviour of one woman rivet the attention and disrupt the lives of so many important people for so long a time?”. According to Ozment, answers to these questions can be found “in the internal workings of a distant society and in the inner lives of people who were both like and unlike ourselves” (3). Therefore, in considering whether or not this book was successful I looked

Jane Austen’s novel 'Emma' and Amy Heckerling’s Clueless, as significant and satirical reflections of Regency England and postmodern America respectively, indicate how the transformation process can shape and improve literacy, intertextual and logical importance. The transformation is evident in the compositions Jane Austen’s ‘Emma’ and Amy Heckerling’s ‘Clueless’ enabling us to investigate the assortment of logical subjects. Regarding ‘Emma’ the perspective throughout the Regency time frame examines the strict values of love and marriage inside the inflexible social hierarchy. Austen’s advances the significance of etiquette throughout the text. Austen reveals a neo-women’s activist perspective, shown in the female protagonist revealing the female protagonists’ scholarly capacity and social equity in an otherwise patriarchal society. However, the close resemblance of the story; ‘Clueless’, Heckerling composition conveys entirely transformed values, reflected through the actions of the current upper-working class of contemporary Los Angeles. The critical analysis of commercialism in the informal social class system of modern America reiterating social expectations of gender and social characterisation within the microcosm of the typical American educational system. The transformation in attitudes of Austen, reveals an exhaustive utilisation of setting, a close examination of dialect and various artistic procedure.

William Shakespeare once wrote, “the course of true love never did run smooth.” Shakespeare’s philosophy, extracted from A Midsummer Night’s Dream, appropriately pertains to the storylines of Edgar Allen Poe’s “Annabel Lee” and Alfred Noyes “The Highwayman”. Within Poe’s “Annabel Lee”, the narrator depicts of the true love that he and his “Annabel Lee” harbored but it evokes resentful angels to pursue and murder his lover. As within Noyes’ “The Highwayman”, the narrator portrays of a love so pure between the highwayman and Bess, the landlord’s daughter, in which Bess willingly sacrifices her life in hopes of saving the highwayman from being killed but unfortunately, leaves both lovers dead. Both Poe and Noyes managed to exercise certain

William Shakespeare once wrote, “the course of true love never did run smooth.” Shakespeare’s philosophy, extracted from A Midsummer Night’s Dream, appropriately pertains to the storylines of Edgar Allen Poe’s “Annabel Lee” and Alfred Noyes “The Highwayman”. Within Poe’s “Annabel Lee”, the narrator depicts of the true love that he and his “Annabel Lee” harbored but it evokes resentful angels to pursue and murder his lover. As within Noyes’ “The Highwayman”, the narrator portrays of a love so pure between the highwayman and Bess, the landlord’s daughter, in which Bess willingly sacrifices her life in hopes of saving the highwayman from being killed but

It not only threatens, but also breaks through. Betrayed by love once in her life, she nevertheless seeks it in the effort to fill the lonely void; thus, her promiscuity. But to adhere to her tradition and her sense of herself as a lady, she cannot face this sensual part of herself. She associates it with the animalism of Stanley's lovemaking and terms it “brutal desire”. She feels guilt and a sense of sin when she does surrender to it, and yet she does, out of intense loneliness. By viewing sensuality as brutal desire she is able to disassociate it from what she feels is her true self, but only at the price of an intense inner conflict. Since she cannot integrate these conflicting elements of desire and gentility, she tries to reject the one, desire, and live solely by the other. Desperately seeking a haven she looks increasingly to fantasy. Taking refuge in tinsel, fine clothes, and rhinestones, and the illusion that a beau is available whenever she wants him, she seeks tenderness and beauty in a world of her own making.

Contrary to to traditional Mother roles in gothic literature, the Mother in ‘The Bloody Chamber’ embodies Strength and Courage. Through Carters feminist style of writing, the mother is seen as a knight in shining armour. The ‘indomitable’ (p1) woman is a figure of strength and courage; she has shot ‘a man – eating tiger with her own hand” (p2), and holding all the traits of a masculine hero. Traditionally, these traits symbolise her possession of the power traditionally possessed by men. Moreover, her overwhelming power is influential; she is in the position of true power, in no way passive or innocent. The passing down of her husband’s “antique service revolver” (p2) contradicts societies expectation of women. Traditionally, possessions are handed down to a fathers heir, however the mother receives this symbolic item instead. This item represents both the mothers strength and her physical power. Yet she is equipped with ‘maternal telepathy’(p41), which adds another dimension to her empowerment as it is a feminine strength, suggesting Carter is employing the notion that women may embrace their femininity whilst still retaining an advantage over men. However, her masculine qualities cannot be ignored. The windswept image is one of strength, portrayed towards the end of the novel, when she saves the damsel in distress, a role usually dominated by men. Her ‘white mane’ (p40) and “wild” appearance alludes to the image of a hunting lioness, a symbol of strength. She is the embodiment of “furious justice”. This

love” makes evident Chaucer’s skewed views of love and marriage with underlying tones of misogyny. He expresses these views throughout the work, however, the theme of love and sex is most evident in the sub-stories of The Wife of Bath and The Miller’s Tale.

He idolizes her as if she were the Virgin Mary: "her figure defined by the half- opened door . . . The light from the lamp opposite our door caught the white curve of her neck, lit up her hair that rested there, and falling, lit up the hand upon the railing." Yet even this image is sensual with the halo of light accentuating "the white curve of her neck." The language makes obvious that his attraction is physical rather than spiritual: "Her dress swung as she moved her body and the soft rope of her hair tossed from side to side." His desire for her is strong and undeniable: "her name was like a summons to all my foolish blood"; "my body was like a harp and her words and ges­tures were like fingers running upon the wires." But in order to justify his love, to make it socially acceptable, he deludes himself into thinking that his love is pure. He is being hypocritical, although at this point he does not know it.