Moll Flanders Morality

Fay Weldon’s ‘Letters to Alice on First Reading Jane Austen’ (1984) through the form of an epistolic novel, serves to enrich a heightened understanding of the contemporary issues of Jane Austen’s cultural context. In doing so, the responder is inspired to adopt a more holistic appreciation of the roles of women inherent in Austen’s ‘Pride and Prejudice’ (1813). Due to the examination of the shift of attitudes and values between the Regency era and the 1980s, the reader comes to better understanding of the conventions of marriage for a women and the role education had in increasing one’s marriage prospects. Weldon’s critical discussion of these issues transforms a modern responder’s understanding of the role of a woman during the 19th century.

This essay is an exploration of the play Much Ado About Nothing, and the gender roles involved in the deceit and trickery that transpire and develop throughout the story. As gender is one of the main themes in the plot, identifying the expected gender roles of the characters, and how the contrast between characters highlights these expected roles. In Shakespeare 's time, known as the Elizabethan Era, men and women’s roles and expectations were starkly different. Elizabethan women, no matter what social class, were inferior to men. A female’s role in the family was to get married so they could increase their family 's wealth and power and to produce heirs. Men, on the other hand, had all of the power within a household. Males were expected

To answer the aforementioned question one must look at the some of the men of which the women speak. Mr. Fletcher sways to Mrs. Fletchers will fearing his bride will have one of her “sick headaches”. Mr. Fletcher lacks the testicular fortitude to stand against his wife. Mr. Fletcher inadequateness leaves Mrs. Fletcher with no respect for her husband. Mrs. Fletcher states as much when she says, “Mr. Fletcher can’t do anything with me.” Welty’s betrayal of Mr. and Mrs. Fletcher

Beyond the social values associated with appearance, Charlotte Bronte also points out the social ideals related to the importance of wealth. Jane seeks advice and comfort from Bessie in chapter 2, only for Bessie to tell Jane, “You ought to be aware, Miss, that you are under obligations to Mrs. Reed: she keeps you: if she were to turn you off, you would have to go to the poor-house” (Mrs. Reed, Jane’s aunt, constantly treats Jane crudely and unfairly). Bessie, in other words, tells Jane that she must put up with Mrs. Reed’s punishments and cruelties because her fiscal situation provides no alternative. Bessie shows no sympathy or remorse in her advice, as her worlds bluntly put the situation of context of how it “just is”. If one has no wealth, they become subject to whatever treatment comes to them and should expect nothing –

Middleton and Dekker collaborate to write The Roaring Girl, which concentrates on a real-life London woman named Moll Cutpurse. Moll was reputed to be a prostitute, bawd, and thief, but the playwrights present her as a lady of great spirit and virtue whose reputation is misrepresented by a small, convention-bound civilization. In the play, as in reality, Moll dresses in men’s attire, smokes a pipe and bears a sword representing a colorful and in the underworld life of Moll Cutpurse. She stood London on its head with her cross-dressing and gender-bending behavior, and illegal pursuits. Her defiance of women in this play is exceptional. Also, she is perhaps one of the only players to be scrupulously true to herself; some of the other characters display very hypocritical aspects. Such unorthodox and unconventional role, Middleton and Dekker implies, leads to her spotted standing. She is a roaring girl; An audacious and bold woman-about-town. But beneath this absence of femininity, is a courageous, high-principled woman. Moll interposes in the central plots and is associated in skirmishes with many of the characters, consistently showcasing her ability to stand up for the downtrodden and wronged. Therefore, Moll creates a 'third space ' that identifies her as importantly freed in her navigation of space and social relations.

> After a night of sex, Vivian is ready to leave in the morning. It is perfunctory for her to have sex then leave, but she has a nice breakfast that awaits her. She is not used to being treated as a person. Edward, ever concerned with work, needs a “date” for the upcoming week for the sake of appearances. He wishes to employ Vivian for the next week as his “date.” He says that he is paying her three thousand dollars “be at [Edward’s] beck and call.” Here he is treating Julia like a prostitute. The nature of their relationship is pendulous, moments of a nascent love to moments of business and concupiscence. Vivian needs new clothes to replace her questionable and inappropriate attire in order to ensconce in the upper class. She is shopping on Rodeo Drive, the Mecca of haut-couture, but while at a store she encounters women that will not wait on her because of the way she is dressed. Because of the prejudice she

Morality is a subject that society has somewhat the same expectations for, but each individual has their own perception of it. Those who choose to disagree with these personal codes are often seen as outcasts, with seemingly happier lives, as they ae expressing who they truly are, almost as if in an act of bravery. This could be the case with certain individuals. Irving Wallace proposes that disobeying social rules do, in fact, translate into a certain definition of bravery. However, if this is true, having a companion throughout this lifestyle could be devastating, even more so with children. Jeanette Walls uses many types of literary devices in her book, The Glass Castle, to convey her partial agreement to Wallace’s quote about

Lawrence portrays Mrs Morel's turning to her children particularly to Paul as an exceptionally unpredictable and uncommon procedure. Lawrence alongside portraying the unpredictable and abnormal connection also finds numerous unusual factors behind this bizarre connection. Among all the factors, the most well-known one is Mrs. Morel's moving her fascination or desire from spouse to child which was the result of the bizarre relation or mismatch between her spouse in regards to character, family status, training, keenness and so on. While she is an exceedingly religious lady, her spouse is hard lush, her refined way additionally negates with his profanity. The marriage life of Mrs. Morel is actually loaded with clashes and disappointments. "Their marriage life has been one carnal bloody fight."(Lawrence, D.H. 1985) Along with the mental tormenting Mr. Morel also frequently beats her seriously and puts her out of home. "The mother is unsatisfied and angry with the coal miner, because he not only fails to live up to her bourgeois idea, but also hurts her in body and mind" (Lawrence, D.H. 1985). All these stinging and anguishing certainties ultimately make her substitute or to move enthusiastically towards her child to discover a bit fulfillment into the world

Throughout Charlotte Brontë’s novel, Jane Eyre is afflicted with the feud between her moral values, and the way society perceives these notions. Jane ultimately obtains her happy ending, and Brontë’s shrewd denouement of St. John’s fate juxtaposes Jane’s blissful future with St. John’s tragic course of action. When Jane ends up at the Moor House, she is able to discover a nexus of love and family, and by doing so, she no longer feels fettered to Rochester. Moreover, Rochester is no longer Jane’s only form of psychological escape, and thus Jane is in a position to return to him without an aura of discontent. At the end of the novel, Jane is finally able to be irrevocably “blest beyond what language can express” (Brontë 459) because she is “absolutely bone of his bone, and flesh of his flesh” (459).

The theme for honour and fidelity apply for both men and women in Shakespeare’s play ‘much ado about nothing’. Honour and fidelity is represented very differently for men and women as it would have been for the people in Elizabethan times. In this first section of the essay, I will be exploring double standards and Shakespeare’s awareness of the double standards between sexes and his feminist approach, the differences of honour and fidelity for men and women and upper class and lower class comparisons.

When Catherine resides in Thrushcross Grange, her coarse demeanor is heavily augmented by the values of the upper class. Catherine’s return from a five weeks stay at Thrushcross Grange renders “her manners much improved” and her appearance as a “very dignified person” (Bronte,37). Catherine proves to be a proper, civil woman, when on the Grange, picking up on the well-mannered tendencies of Edgar and

This is contrasted by Moll's internal narrative in which she scoffs at the innocent bystanders who she deems stupid enough to warrant her theft, and whilst this can be viewed as merely a coping mechanism for Moll to rationalise her illegal behaviour, when it is coupled with the declaration in the Preface, Defoe's intended purpose for Moll Flanders seems far more layered than the bold and uncompromising declaration of his 'editor' narrator. Whilst Moll is punished for her crimes, there are no permanent repercussions. Even the scenes in which Moll is arrested and brought to Newgate, the place of her birth, only offer a temporary consequence for her actions that is quickly relieved upon her release - but the psychological impact of Newgate and its use as a motif in contemporary literature are both important when considering how Defoe approaches the concept of redemption and penance in his female

Glaspell develops the theme of gender roles by what Mrs. Hale and Mrs. Peters fret about at the crime scene. For instance, the first concern that Mrs. Peters voices revolves around Mrs. Wright’s fruit preserves and implies that the women are housekeepers. Both the Sheriff and Mr. Hale remark about how the women are “worryin’ about her preserves” and “worrying over trifles” (Glaspell 3). Later, when the men go upstairs to look for evidence, the women decide to bring Mrs. Wright’s apron, fruit, shawl, and quilt for her in prison. To further establish Mrs. Wright as a domesticated housewife, Mrs. Peters suggests that Mrs. Wright wants her apron “to make her feel more natural” (Glaspell 5). Because of what Mrs. Hale and Mrs. Peters discuss at the crime scene, Glaspell verifies that the women play the role of housekeeper and cook.

Mrs. Rowland, the protagonist, is portrayed as the stereotypical nagging wife. While a flat character, she is very realistic. Her level of diction implies her lack of education, she is also bitter towards her husband. Her bitterness is not unfounded. Alfred is of no help, "Heaven knows I do my part-and more-going out sewing every day while you play the gentleman and loaf around bar rooms with that good-for-nothing lot of artists from the Square" (Jacobs 1211). Mrs. Rowland's husband is adulterous and can not hold down a job. Mrs. Rowland loves her husband, although she does not like the way he treats her. She exhibited love by continually enabling him, paying the rent, providing food, and cleaning up after him. She regards Alfred's depression as laziness. "Not that I've got any doubts about your being lazy enough to stay in bed forever" (Jacobs 1211). After learning Alfred's lover Helen, is pregnant, her frustration and disappointments only intensify.

Her relationship with the wealthy, charming Rodolphe Boulanger is a diversion from tedious country life as well as an intentional subversion of the establishment of marriage and an attempt to undermine her husband’s authority. After her first conjugal transgression, Emma distinctly feels “the satisfaction of revenge” and “savoured [sic] it without remorse, without anxiety, without worry” (161). Though her husband Charles is guiltless of cruelty or vice he is representative of a patriarchy that is entirely neglectful of the emotional, psychological, and intellectual needs of women and assertive of its superiority and power. She is expected to fulfill the duties of a simple-minded, submissive, and sexless creature who is devoted to the comfort of her family and upkeep of the home. By pursuing a sexual relationship with Rodolphe, Emma invalidates the authority of the prohibitive government institution over her actions and demands autonomy in the face of a banal provincial life.