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Society's Role in Margery Kempe's Autobiography Essay

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Society's Role in Margery Kempe's Autobiography

In her essay "Professions for Women," Virginia Woolf recounts her experience with Coventry Patmore's "Angel in the House." The "Angel," society's ideal woman, is concerned primarily with others, identifies herself only as a wife/mother, and remains conventional in her actions, conscious of the standards for women. Woolf indicates that women writers are guided by this "Angel" unless they liberate themselves. Society's ideals ("the Angel in the House") have influenced Margery Kempe's autobiography as revealed by her content, form, and identity.

Kempe chronicles her struggle to obey God while attending to her marital duties: she says to her husband, "I may not deny you my body, but the …show more content…

Kempe writes her autobiography in the third-person perspective, which is indicative of society's influence on her writing. Referring to herself as "this creature," Kempe puts the reader in a situation where she/he more likely associates with the "creature" as a character than a real person. Also, the focus chapters 3, 4, and 11 is primarily on Kempe's spirituality, illustrated best by her diction: 'God,' 'Heaven,' 'sin,' 'temptation,' and an array of other religious jargon characterize her speech, as opposed to 'sexual' or 'spiritual' 'liberation' or 'subjective truth.' Because of the time in which she wrote this, Kempe's work must have been of religious significance, not an example of feminist or existentialist theory. Furthermore, Kempe seems to have internalized the condemning voice of the church, as she chastises and demonizes herself. For example, "She thought she was worthy of no mercy, for her consent was so willfully done, nor ever worthy to do Him service, because she was so false to Him" (22). Even if she really felt this way about herself, Kempe seems to be stating readers' reactions, especially when she quotes her husband, who told her, "Ye are no good wife" (23).

Coventry Patmore's nineteenth-century "Angel in the House" post-dates Margery Kempe by about four hundred years. Thus Kempe does not

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