The Adventure Of The Abbey Grange Essay

Nowadays, freedom is a fundamental right for each man and woman, but it is not a perfect concept. When one’s freedom is endangered, he can do unimaginable things, especially when love is at stake or can react weirdly when he acquires it. It’s exactly what Kate Chopin, a female American author during the 19th century, did when she treated about women’s conditions in the short-story Story of an Hour in 1894, where a woman falsely learns about his husband’s death. Almost 60 years later, Roald Dahl wrote Lamb To The Slaughter, set in Great Britain, where a woman kills her husband and hide the evidences cleverly. These two short stories are not only comparative on the two female protagonists and the imagery used, but also on the main themes

“No matter the term used to identify the abuse of women in nineteenth-century Britain—domestic violence, spousal abuse, marital violence, or wife-beating—it was written about by leading authors of the time” (Wingert, 1). Women lacked many rights that they are presented with today. Women were not even allowed to file for divorce unless they had proof of adultery or abuse; and although most women had substantial evidence of abuse, they realized the fate they would be given if they chose to leave their husbands. Divorce would usually end in poverty and ostracization from society for a woman. In Wuthering Heights, the physical and verbal abuse imposed upon Isabella from Heathcliff is horrid and a perfect example of the daily abuse many women during the time period

The play “Poof” by Lynn Nottage is a story that briefly but directly shows the emotions that abused women can go through during their lives. In the story, the main character feelings go from fear, to relief, to freedom, after “magically” making her husband disappear.

“It was only yesterday she had thought with a shudder, that life might be long.” (Chopin 17). “"Poof!"… gave a revealing look at the victims of domestic abuse and how they wrestle with overcoming their fear and their doubts after suffering years of abusive treatment.” (Toomer 5) Loureen unlike Mrs. Mallard, witnesses her husband’s death first hand during a marital argument. Loureen goes through denial questioning whether her husband’s death. She is happy her husband is dead but also feels guilty, because she knows how a mourning wife should react, but the joy of his demise is greater,” I should be praying, I should be thinking of the burial, but all that keeps popping into my mind is what will I wear on television when I share my horrible and wonderful story with a studio audience…”, Loureen’s husband, Samuel, was physically abusive, as revealed by Florence, Loureen’s best friend and neighbor. “Did that mother***** hit you again?” (Nottage 1563) This abuse, physical by Samuel and mental by Brently, is what allows Loureen in the drama “Poof!” and Mrs. Mallard in the short story “The Story of an Hour” to have the shared freedom they feel in the release from their respective abusive relationships.

William, Rachel’s three year old son is crying standing over her as she is slowly regaining consciousness. Her boyfriend, Daniel, was gone; their bedroom door was left cracked open and Rachel was on the couch in their room. Pained around her neck from where he choked her, she tries to wrap her head around how she got to this point. Why does Daniel hate her? What did she do this time? Can she, should she, just leave with William? Rachel realizes she has to get out of the house before Daniel gets back. When she arrives at her mother’s house, her mom is alarmed. Rachel has bruises around her neck and marks around her hairline. Rachel’s mother tells her “You come here every week and you go back to that monster every week. I see these bruises but you must not feel they are a problem since you keep going back to him.” Rachel’s mom walks out of the room frustrated.

As a woman, the narrator must be protected and controlled and kept away from harm. This seemed to be the natural mindset in the 19th century, that women need to have guidance in what they do, what decisions they make, and what they say. John calls her a “little goose”(95) and his “little girl”(236), referring her to a child, someone who needs special attention and control. His need for control over her is proven when she admits that her husband is “careful and loving and hardly lets me stir without special direction”(49). John has mentally restrained the speaker’s mind, she is forced to hide her anxieties, fears and be submissive, to preserve the happiness of their marriage. When the narrator attempts to speak up, she is bogged down and made guilty of her actions. Her husband makes her feel guilty for asking, he says, “‘I beg of you, for my sake and for our child’s sake, as well as your own, that you will never for one instant let that idea enter your mind!’”(225-226). By making her feel guilty for her illness, John has trapped her mentally from speaking up about it, convincing her that she must be more careful about her actions. Men often impose the hardships placed upon women during this era. They are often the people reassuring them of their “womanly” duties, and guiding them

Home in today’s society can be described in many ways, but is ultimately expressed as more of a feeling of safety and love. Sonsyrea Tate claims "You can leave home all you want, but home will never leave you." In essence, the feeling of home is a part of the character and who he/she will become. In Charles Dickens' Great Expectations, Pip examines the true meaning of home and how the subjective opinion of home can reflect who a person becomes. He illustrates this idea using recurring appearances of home-like symbols, the way Pip’s definition of home changes throughout the novel, and how he shows Pip’s acquired feelings after moving into higher society.

The abuse is usually frequent enough that the victim internalizes it. This leaves the victim feeling fearful, insignificant, untrusting, emotionally needy, and unlovable. Survivors of this form of abuse have a hard time understanding why they feel so bad (Munro, K. 2001.).

The Tenant of Wildfell Hall contains one of the earliest examples of marital abuse written in the Victorian Era. It prominently displays women being abused, separated from society and their subsequent solitude. The author, Anne Brontë, did not shy away from certain ‘taboo’ topics, like alcohol abuse, domestic violence, and sexual assault and has been criticised for it, even by her own sister Charlotte. Domestic violence has been around for many years and yet it was, and still is, treated as a forbidden subject that should be handled quietly and without causing a commotion. Anne Brontë does not ignore these issues. She gives a clear look at how someone can change overtime and how the effects of alcohol are not to be taken lightly. The Tenant

At this point she simply finds no other way but to accept the stereotypical view of a young innocent girl in a relationship with an experienced man, another example of women being victims of male authority. The key to the bloody chamber is the key to her selfhood and subjugation that will ultimately kill her. ‘The protagonist’s husband clearly considers her an object of exchange and plans to inscribe upon her his continuing tale of punishment for wives’ disobedience’[viii] again showing how women make themselves victims of their own behaviour, Helen Simpson’s interpretation is that ‘I really cant see what’s wrong with finding out about what the great male fantasies about women are’ [ix] The heroine fights against the victimisation, and indeed reverses role with the male in the story, as it is Marquis who dies and it is the female who leaves this chamber and finds happiness.

While not a somatic assault, emotional abuse can cause lasting effects on a woman’s health, so much so that researcher, B. Van Houdenhove and others working on the project have found “that emotional abuse and neglect may be contributing factors to the development and/or severity of illnesses such as chronic fatigue syndrome and fibromyalgia” (Karakurt and Silver). Finally, emotional abuse is a rampant issue, Karakurt and Silver report that “Psychological aggression by an intimate partner was reported by 48.4% of women,” which was found in the National Intimate Partner & Sexual Violence Survey (“Emotional Abuse in Intimate Relationships: The Role of Gender and Age”). Nearly half of the population of women report being victims to psychological abuse, making it a widespread epidemic faced by not only women in dystopian novels but also real life. Psychological abuse can take many verbal and non-verbal forms, which can put great strain on a woman’s health, and affects nearly half the population of the United States.

       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

In Kate Chopin’s “The Story of an Hour”, Louise Mallard is caught in a cold marriage and a constrictive house. The same goes for Sarah Penn in Mary Wilkins Freeman “The Revolt of “Mother.’” Despite the fact that both stories share the topics of imprisonment and control, physically and inwardly, the ladies in the stories have diverse responses to their circumstances. Sarah battles the confinements without holding back, taking her opportunity, while Mrs. Mallard adopts a motionless strategy and is just liberated through the death of Mr. Mallard.

These two stories exemplify the epitome of women’s repression in the male-dominated society of the late nineteenth century by conveying the feelings of

Parallel to many of the great feministic novels throughout literary history, Jane Eyre is a story about the quest for authentic love. However, Jane Eyre is unique and separate from other romantic pieces, in that it is also about a woman searching for a sense of self-worth through achieving a degree of independence. Orphaned and dismissed at an early age, Jane was born into a modest lifestyle that was characterized by a form of oppressive servitude of which she had no autonomy. She was busy spending much of her adolescent years locked in chains, both imaginary and real, as well as catering to the needs of her peers. Jane was never being able to enjoy the pleasures and joys that an ordinary and independent child values. Jane struggles