Meaning Of Bastard In History

Now that masculinity has being defined, it is possible to demonstrate how these books expose the belief that England is suffering from a decadence of its leadership and, as a result, of its moral values. The metaphors of the corruption of England are clearly presented by both authors. The arrival of Dracula, a foreign threat, to England is accompanied by the worst storm in a century. A dark mist that obliterates the light of day comes over and, when it dissipates, the count’s ship is already at the port. This obscurity is the absence of God’s light. The process of corruption has begun and it starts from

One of the more comforting characteristics of human history is its overall lack of originality. People, regardless of location or situation, tend to act exactly as their predecessors did. It is with this nugget of knowledge that the current generation can look to the future with a certain sense of ease, knowing that it will probably be no different from the past they have read about in history books. This occurrence, the repetition of human nature throughout time, is no more evident than in a comparison of Geoffrey Chaucer’s The Canterbury Tales and contemporary society. While Chaucer primarily used his writing to satirize the people of his day, he simultaneously and unwittingly satirized those of the future who share the same unfortunate circumstances. In Chaucer’s “The Miller’s Tale”, he uses infidelity and the relationship between husband and wife to ridicule marriage. In popular

Fear of cuckoldry is widely known theme in medieval and Renaissance English literature. Fear of cuckoldry was also a widespread fear in English society during those eras. Men often treated their wives as possessions. Once men and women married, divorce was almost impossible, especially since it was almost impossible to prove that one had been cuckolded. If one were cuckolded and one’s wife had another man’s child, one might spend decades taking care of that child and passing on one’s money and belongings to that child without ever knowing that one had been deceived. Unmarried women are seen as their fathers ' property and the play 's two marriages are marked by jealousy and cruelty. Most

While on the way to venerate Saint Thomas Becket’s remains, the entertainment of Chaucer’s Canterbury pilgrims falls upon the requiting of stories between the different estates. However, this requiting quickly turns malicious, the Host’s simple proposition evolving into an aggressive show of social dominance that includes the boasting of both literal and metaphorical rape. The normalization (or, borderline reverence) of aggressive manliness contributes to the creation of both rape culture and compulsory heterosexuality. Consequently, when a man does not dominate a woman—or, does not use his masculinity to humiliate another man—he is seen as weak or effeminate, subsequently placing his sexuality under scrutiny. Such is the motive behind John and Aleyn’s rape of the miller’s wife and daughter—to make Symkin seem weak, and to gain a reputation of superior masculinity. Thus,

King Henry IV must also contend with his son, Prince Hal, who’s not the honorable prince he had hoped him to be. He feels it is “an honorable spoil” not to have “a son who is the theme of honor’s tongue,” when he learns of Northumberland’s son Hotspur’s victories, which, should be “a conquest for a prince to boast of” (1.1.74,80, & 76). Pangs of jealousy strike Henry’s heart caused by the differences between his son and Northumberland’s. So much so, he wishes “it could be proved that” someone, or something, “had exchanged in cradle clothes, their sons at birth” (1.1.85-87).

Arden of Faversham, an anonymous play thought to be a collaboration between prominent Early Modern playwrights, is based on Hollinshed’s account of “a gentleman named Arden most cruelly murdered and slain by the procurement of his own wife” in Chronicles of England, Scotland and Ireland (Arden, “Appendix” 113). Even though Hollinshed is giving an account of what happened thirty years ago, in a society so concerned with possession of land, by using familiar tropes such as class anxiety and social climbing, correspondences of trade and exchange, patrilineal pressures, premonitory dreams, and the poison and knife as murder weapons, the domestic tragedy successfully displays the politics of domestic space, infidelity, ownership and male same-sex

For Hotspur, who glorifies the honor to be gained in battle against worthy foes, the more hazardous the enterprise, the greater the chance of gaining honor (Prior 14). This concept of honor contrasts greatly with that of Falstaff, a battered old soldier long turned against the nonsense of military glory, who wanders about the Shrewsbury battlefield with a bottle of sack, not a sword,

Although Henry I was very giving to the church and restored most of the damage his older brother had inflicted, he was no without sin. Henry I has the largest amount of illegitimate children, of an English King, recorded in history. It was recorded that he had over 20 illegitimate children to many different mistresses. [3] Almost all of his children where acknowledged as his and given superior placements as earls, but because Henry gave the land and money taken from William II back to the church, this known fact was ignored. Henry I paid for his sins by being extremely kind to the church.

Despite the fact that wives’ adultery undermines the entire family structure by calling a man’s heir’s legitimacy into doubt,

It is clear that Geoffrey Chaucer was acutely aware of the strict classist system in which he lived; indeed the very subject matter of his Canterbury Tales (CT) is a commentary on this system: its shortcomings and its benefits regarding English society. In fact, Chaucer is particularly adept at portraying each of his pilgrims as an example of various strata within 14th century English society. And upon first reading the CT, one might mistake Chaucer's acute social awareness and insightful characterizations as accurate portrayals of British society in the late 1300s and early 1400s. Further, one might mistake his analysis, criticism, and his sardonic condemnation of many elements of British culture for genuine attempts to alter the

The Canterbury Tales is absorbed in the minutiae of the three estates, or the distinctions between class and social status. In many ways, too, it seems to act as a parody on the various classes.

Misogyny is not only visible in the Miller’s tale, but also in the Wife of Bath’s tale through the very superficial standards set for women by men. The old woman asks that the knight marries her in return for giving him the answer to the riddle and he reacts in disgust and horror, “‘...to take me as your wife…‘Alas and woe is me!...I am ugly and poor…my damnation! Alas, that any of my birth should ever be so foully disgraced!” (Chaucer, “The Wife of Bath’s Tale,” 199-213). The knight is visibly distraught, using words such as “damnation” and “disgraced” when the old woman expresses her wish to marry him. He displays these emotions not because she wants to get married, but because she is ugly and poor. He is worried because an ugly wife will mar his reputation and is a poor reflection of him. This translates to the misogynistic society during the time period where women were seen as property to be shown off, rather than people who deserved respect. The recurring theme of misogyny in these two tales shows that Chaucer does not feel sympathy for the opposite gender, but instead belittles their plight.

The subplot in King Lear is of Gloucester and his sons Edmund and Edgar. Edmund, the illegitimate, bastard son, can be seen as somehow unnatural according to the laws of society at that time. Gloucester himself says to Kent, regarding Edgar, "But I have, sir, a son by order of law..." (I.i. 18). The subtext here is that Edmund's conception was outside the law and unnatural to the social structure.

unpleasant social peculiarities, via a most careful use of irony in the dialogues and thoughts of

The Country Wife – written by William Wycherley in 1675 – is a Restoration comedy based upon the life of the aristocracy. Restoration comedy is a style of drama that was made popular in the late seventeenth century. It refers to the period in England when King Charles II was returned as the head of the English empire. Life under King Charles II was seen as hedonistic: people were motivated by pleasure. These moral virtues represented the degradation of society, rampant with sexual explicitness and obscenity (“Charles II”). The definition of moral virtue can be quite ambiguous. For the purpose of this essay I will define moral virtue as such: A set of accepted traits or qualities which are accepted as "right” or “good” in society. The