Sarah Jeannette Duncan's a Mother in India - Victorian Men Create Mons

As the narrator, Claire creates an emotional and compassionate tone throughout the story. Her dialogue constantly consists of words such as “honey”, “mommy”, “love”, which constitutes to the overall mood of the text (Carver 363). Additionally, she is constantly catering to her husband and child by cooking, cleaning, and performing tasks of the typical “stay-at-home” mom. Her affectionate personality, want for control, and mother-like performance plays a role in Carver’s explanation of the stereotypical mother and wife.

Cornelia is watching as her brave and independent woman is slowly fading away, mentally and physically. "She was never like this, never like this" (Porter, 517). Cornelia tells the doctor worried as she sees her mother's capacity diminishing. Granny hears this and is spiteful towards Cornelia. Granny has had a hard life and that has made her very independent. For eighty years Granny has taken care of herself, she remembers, and tells herself, "I pay my own bills, and I don't throw my money away on nonsense" (516) and now to have people coming in her room checking in on her, taking about her is unfamiliar and condescending to her. Granny is a very reserved woman one who is almost embarrassed or ashamed of allowing people to know her thoughts, "no use to let them, the kids, knows how silly she had once been" (517).

When she enters the bedroom, her voice changes from present to past tense and she starts to reminisce and begins to talk about her mother and aunts. She seems happy to remember her mother’s room and introduces her aunts to the audiences. Mary delivers her dialogue saying that the dressing table and the small elephant statue figures are all same. When Mary gently touches her mother’s photo, she delivers a sad tone. Her performance conveys to the audiences that she misses her mother. The tone of her voice represents that she is a gentle, innocent and a loving child. Her verbal and non-verbal interactions conveyed the viewers with a message that she is an orphan.

The minister then questions her but after his unsuccessful attempt, Mother’s actions become a scandal throughout the town because “any deviation from the ordinary course of life in this quiet town was enough to stop all progress in it” (C670). This does not bother Mother and she successfully continues with her plans. By overcoming this alienation both characters achieve feminine empowerment.

The reader is almost forced to look at the actions of the grandmother as being similar to that of a young child. There's not a quiet moment with her around and she never sits still. The reader tends to have a negative perception of the grandmother due to these personality traits. However, these traits are expressed in a comical way causing the reader to be annoyed by the grandmother, but also entertained.

The heroine, Mrs. P, has some carries some characteristics parallel to Louise Mallard in “Hour.” The women of her time are limited by cultural convention. Yet, Mrs. P, (like Louise) begins to experience a new freedom of imagination, a zest for life , in the immediate absence of her husband. She realizes, through interior monologues, that she has been held back, that her station in life cannot and will not afford her the kind of freedom to explore freely and openly the emotions that are as much a part of her as they are not a part of Leonce. Here is a primary irony.

Her story of being “bundled along from farm to farm” evokes sympathy in not just the characters in the play but also the readers of the novel. According to Kent Agnes had been at many farms throughout her life either as a foster child “left to the mercy of the paupers” or as a work maid in the house. We as the readers are positioned to feel sympathy for Agnes being moved from house to house allowing no stability in what was her very short childhood. The audience is positioned to feel a sense of outrage as Agnes is left by her mother when she was five with nothing more than a stone to “talk to the birds”. Agnes conveys to Toti that the only happy memories of her childhood was where she found a “better family” at Kornsa which is ironically where she is sent to spend her final months before her execution. The fact that Agnes “no longer loved” her biological family was symbolic of her moving past her childhood toward adulthood at a very early age. As Agnes reflects on her past she notes how she is “quite alone” which evokes sympathy in the reader who feels that she “doesn’t have a friend in the world”. Agnes tells of the traumatic ordeal she went through in losing her foster mother Inga during childbirth. After this Agnes was then fostered out again and put on her journey hopping from farm to farm. It is this unstable and very brief childhood that allows

The character grandmother in O’Connor’s story has grounds the reality of the events and drives the family into tragedy. She is a central character in O’Connor’s story and is depicted to be a dynamic character stuck in the old ways. Through her actions and the idea of being stuck in the old ways of thinking, she leads her family into tragedy. Being the main character in the story, Grandmother significantly adds to the development of the plot. The author manages to win the attention of the reader from this character owing to the manner in which she shapes the storyline. Grandmother’s reminiscing of the old ways claims a distinctive curiosity from the reader and helps in

(Bowen, 2000.) Although not much insight is given into the awful relationship Mary had with her late husband, there’s is evident that she resents her daughter. Precious became the target of neglect and abuse due to the fact that, her father raped her and her mother instead of protecting her became jealous of her own daughter. Mary intentionally tries to impair her daughter Precious by constantly demoralizing her by telling her that she is ugly, fat and stupid. Mary is fixed on the idea of hurting her physically, emotionally and psychologically. Mary is a constant remind to Precious of how she will be nothing without her. As a result, she internalizes this tension and many aspects of her life suffers. Precious is performing poorly at school, her physical health is bad as she is overly obese and she is a loner in the sense that she makes no effort to befriend anyone. She is constantly worried about what her mother is going to do to her for the day or she is constantly on edge with her mother, not knowing what to

The narrator is portraying a woman who is looked down upon because of her mental illness, but women at the time were often seen as childish or too emotional. “Then he took me in his arms called me a blessed little goose,” (Gilman 5). The narrator’s husband, John, treats her almost like a father would treat a daughter. The narrator is belittled because of her inability to act like women at the time were expected to. “Victorian values stressed that women were to behave demurely and remain with in the domestic sphere,” (Wilson 6). During the 19th century, women were expected to simply care for the children and clean the house. Most of the time, women who aspired to do more than that were not considered respectable wives. “Because the narrator is completely dependent on her husband and is allowed no other role than to be a wife and a mother, she represents the secondary status of women during the 19th century,” (Wilson 5).

The novel begins with the mother ignorant to modern society. Junior emphasizes this. "No one had ever taught her anything. She was an orphan at six months"(23). "At the age of thirteen, she was married off to a man rolling in money and in morality whom she had never seen. He would have been the age of

       As the tale begins we immediately can sympathize with the repressive plight of the protagonist.  Her romantic imagination is obvious as she describes the "hereditary estate" (Gilman, Wallpaper 170) or the "haunted house" (170) as she would like it to be.  She tells us of her husband, John, who "scoffs" (170) at her romantic sentiments and is "practical to the extreme" (170).  However, in a time

She tells John that she wants to visit Henry and Julia, her cousins, but he tells her that “she wasn’t able to” (Gilman 45). She is left feeling helpless: “what is one to do?” (Gilman 39). By suppressing her feelings, the narrator slowly “creeps” (Gilman 52) towards insanity.

The novel was published in the year 1937. It is a depiction of a woman, whose life itself is an endeavour to oppose patriarchy. The protagonist show case great characteristic traits of representing the spirit of change. She breaks the norms that are posed by the male chauvinistic people around her. As the novel begins it is evident that Janie is suppressed by her own grandmother. This is the first level of suppression she undergoes. Here, a woman is suppressed by another woman of her own family, who has a mind that is glutted with the notions of patriarchy. The grandmother in Their Eyes Were Watching God though understands the sufferings of Janie, believes that it is her duty to get Janie married to the much older rich man. She believes that only a male support can make her life secured and happy. Here the grandmother represents the familial violence that is meted out to young women by people with patriarchal ideologies. According to her, a man is superior to a woman. She believes that only a man can give life and protection to a woman. The grandmother sticks to the old beliefs about marriage. This is one of the notorious notions that the patriarchal society hold on to. She fails to understand that women can live a secured life without even getting married. However, Janie is suppressed here. Janie is unable to protest against her much beloved grandmother. She becomes Logan’s

She is so naïve and adolescent that she leaves her worldly activities and gets ready to go out and spend time with her boyfriend. She gives him her possessions: her “labor” and “leisure” too (l. 7) for his politeness.