The Depiction of Male/Female Relationships in Tolstoy's War and Peace

The Russian attitude toward love during Chekhov’s time is very patriarchal and is considered normal to marry for practical reasons, parental pressures or other considerations rather than for love. The feelings that accompany love, such as passion and spirituality, are not a societal consideration and this institutional attitude toward human emotion is the catalyst for Chekhov’s story. When a person is deprived of love, he or she builds up a futility of life which consumes the human soul. In Anton Chekhov’s “The Lady with the Dog”, the readers are placed in a setting where the main character Gurov, and his love interest Anna, are given the emotional freedom to feel love toward one another. This freedom is the driving force in the story

In the past many decades the definition of what a marriage means changed dramatically in some areas. For the author of both stories, Kate Chopin, she wanted the reader to get something out of the story. She likes to explore all types of themes in her stories such as, racism, the roles of women, and adultery. With these themes and messages she struggled to have most of her stories published. In many of her stories she passed along these messages through the manner of a marriage. In her short stories “The Story of an Hour” and “Desiree 's Baby” she showed just how different marriages could be as well as how similar they can be. Chopin portrays the lives of the main characters, Louise Mallard from “The Story of An Hour” and Desiree Aubigny

Ivan Ilych’s marriage to Praskovya Fedorovna is not built on true love, instead it is built on Ivan Ilych once again, trying to fit in with society. To prove that Ivan Ilych did not get married based off true love the narrator says, “Ivan Ilych might have aspired to a more brilliant match, but even this was good. He had his salary, and she, he hoped, would have an equal income.” (Tolstoy) This quote proves that Ivan Ilych was conforming to society and he married his wife just because it was the right thing to do since everyone else was doing it which is shown when the narrator says “Ivan might have aspired to a more brilliant match” meaning that he was not completely satisfied with his wife. Ivan Ilych did not look at the deeper meaning of marriage, he only looked at the materialistic and physical things that came along with his wife which is why they both did not live a happy life together. When Ivan Ilych got ill the narrator says, “her husband had a dreadful temper and made her life miserable, she began to feel sorry for herself, and the more she pitied herself the more she hated her husband. She began to wish he would die” (Tolstoy). This expresses the hate that Praskovya Fedorovna felt towards her husband due to the fact that she realized Ivan Ilych never cared for her or her family and he only cared about his social status. Ivan Ilych was a bad husband because of his immorality and thus his wife is insurgent against him. Here,

The stories of Anton Chekhov mark a focal moment in European fiction. This is the point where 19th realist caucus of the short stories started their transformation into modern form. As such, his work straddles two traditions. The first is that of the anti-romantic realism which has a sharp observation of external social detail. It has human behavior conveyed within tight plot. The second is the modern psychological realism in which the action in typically internal and expressed in associative narrative that is built on epiphanic moments. In consideration of the two sides, Chekhov developed powerful personal styles that presage modernism without losing traditional frills of the form. This essay will discuss the Chekhov's portrayal of women.

In “The Story of an Hour”, “The Yellow Wallpaper”, and “Trifles”, the authors all question the institution of marriage through the emerging theme of the oppression of women. In each of these works, women are shown trapped in confining marriages. While marriage is supposed to be seen as one of the most beautiful and perfect sanctities life has to offer, these authors portray it as more of a bittersweet agony that women are forced to endure. Chopin, Gilman, and Glaspell use a combination of symbolism and perspective in their literature to bring about this theme of female oppression. With this theme, the authors cause the readers to take a more feminist perspective and question the institution of marriage through the eye of the average housewife of the late 19th and early 20th centuries.

This lay introduces two types of love: selfish and selfless. Selfish love is not courtly love. It lacks devotion and true loyalty. It lacks suffering and self-denial. Marie de France portrays this kind of love in the old husband of the woman whom Guigemar loves. The man locks his wife away in an enclosure guarded by a castrated man. By doing this, the husband shows a mean, limited

“Days of a Russian Noblewoman” is a translated memoir originally written by a Russian noblewoman named Anna Labzina. Anna’s memoir gives a unique perspective of the private life and gender roles of noble families in Russia. Anna sees the male and female gender as similar in nature, but not in morality and religiosity. She sees men as fundamentally different in morality and religiosity because of their capability to be freely dogmatic, outspoken, and libertine. Anna implies throughout her memoir that woman in this society have the capacity to shape and control their lives through exuding a modest, submissive, and virtuous behavior in times of torment. Through her marriage, Labzina discovers that her society is highly male centered.

Hadji Murat, Tolstoy's second book with the Caucasus as its setting can be considered a work of historical fiction that is a beautiful tale of resistance, and a window into not only the Caucasian War of the mid-nineteenth century, but also the culture of the Russian Empire during this period. As a work of fiction the reader must be wary of depictions of actual persons such as Tsar Nicholas I, whom Tolstoy was not enamored with, to say the least, but many insights about the period and its people can be gleaned from the story. The novel is one of great contrasts between Chechens and Russians and also of what life was like during this time.

Again, social status leads Monsieur Jourdain to think in terms of how to better himself in the eyes of society. He recognizes that Lucile is a crucial element in his quest to become a gentleman, for he lacks the privileged rite of birth that the aristocracy benefit from. His emphasis on social status has driven Monsieur Jourdain to sacrifice his daughter’s preferences for his own personal and selfish gain. Monsieur Jourdain, however, does not view this act as selfish, but rather as necessary. After drawing criticism from his wife for denying Cléonte Lucile’s hand in marriage, Monsieur Jourdain counters, “Those are sentiments that show what a small mind you have – not wanting to better yourself” (226). Monsieur Jourdain realizes that Lucile is his ace in the hole for becoming a member of the elite, and he scolds his wife for not recognizing the great opportunity that Lucile’s marriage can bring them. Again, the thought of social status causes Monsieur Jourdain to degrade his own daughter from a human being, to a mere bargaining chip for his (family’s) benefit.

Imperial Russian society during the time of serfdom was characterized by constantly changing social order. The society experienced a complex social change at the threshold to emancipation. It was undergoing many changes with increasing westernization and serfdom culture that gave rise to formation of new classes (raznochintsy) during the nineteenth century. Many authors have reflected and emphasized this component of change in the structure of pre-emancipation Russian society. This paper will examine how two writers: Nikolai Gogol and Ivan Turgenev, in their novels, Dead Souls and Fathers and Sons depict the society’s constantly changing nature through the relationships between their characters and the development in their beliefs and ideas. Although both the novels explore societal change during the pre-emancipation of serfs, the emphasis of change is different in both the novels. In Fathers and Sons, Turgenev oversees shifting values prevalent in the society. He explores the shift in generational values by depicting the difference in beliefs of characters like Bazarov and Nikolai. On the other hand, in Dead Souls Gogol focuses on issues of morality in society. He depicts a struggle for morality and portrays a corrupt society through the landowners and the protagonist, Chichikov, in his book.

Popular descriptions of Alexei Karenin label him as a cold and passionless government official who doesn’t care about his wife or family. Indeed, he is viewed as the awful husband who is holding Anna hostage in a loveless marriage. However, this is a highly exaggerated description, if not completely false, analysis of Karenin. Upon careful analysis of Karenin’s character and his actions, it is clear that he is not the person Anna makes him out to be. In fact, with thorough examination of the passage on pages 384 and 385 of Anna Karenina, it is clear that Alexei Karenin can be considered the hidden tragic hero of the novel.

When he returns home to Algiers, Meursault carries on with life as normal. Over dinner one evening, his neighbor Raymond tells of his desire to punish his mistress for infidelity, and asks Meursault to write a letter to the mistress for him. Meursault agrees, saying "I tried my best to please Raymond because I didn’t have any reason not to please him" (32). While Raymond is a man of questionable morals, he acts with purpose. Meursault, on the other hand, acts with mostly passive indifference, doing things simply because he doesn’t have a reason not to do them.

One of the themes of Tolstoy’s story of The Death of Ivan Ilych is detachment from life, considering that all material things can substitute the true meaning of life: compassion and care for others. “Everywhere in the novel, Tolstoy speaks of Iván Ilych's desire for propriety, decorous living, and pleasantness all while making this his first and most important priority. This motivation is a poor

In the lecture titled Fathers and Children—Turgenev and the Liberal Predicament, Isaiah Berlin draws our attention to Turgenev's ambivalent attitude towards the hero of the novel, Bazarov. Turgenev is no doubt fascinated by Bazarov's destructive energy, and yet remains unable to stand firmly on Bazarov's side. Bazarov is not a revolutionist dreaming to build a utopian empire on the ruin of existing orders—he does not care to analyse what is it that he swears to destroy—but is a self-proclaimed nihilist vowing to clear the ground. The author almost wishes that the sheer force in Bazarov could be smoothened, be tempered and be steered to something constructive; but in his attempt to reshape Bazarov by subjecting him to the ordeal of love, he finds himself with no other choice but to shatter Bazarov altogether. Love ties one to the mundane in life at the present moment and renders one vulnerable to all the sentimentalism that a nihilist should contempt. Consequently a Bazarov in love must die.

In 19th century Russian literature there was often a gender inequality depicted between the male and female characters. Women were expected to get married, start a family, and obey their husbands. Women often made sacrifices and married men they weren’t fond of in order to support their families. Anton Chekhov’s writing questions these gender relationships. The female characters have a strong presence within Chekhov’s works, and they transcend typical gender roles.