The Duchess of Malfi's Agency

In Chopin’s short story, she demonstrates how men in the late ninetieth and early twentieth century treated their wives more as possessions than individuals, thus when the protagonist Mrs. Mallard learns her husband Brently Mallard just unexpectedly died, she feels “free, free, free!” (15). Since, Chopin published this short story in 1894; women often got married while they were quite young and typically to men much older. Likewise, divorce was never usually an option for unhappy marriages. Subsequently, Mrs. Mallard appears unhappy in her marriage, after learning about her husband’s death, she pictures how much better her life is going to be, “There would be no powerful will bending hers in that persistence with which men and women believe they have the right to impose a private will upon a

In her story she used the old lady to represent her. The old lady makes a condition with this knight and they get married but he did not want to marry her. While they are married the old lady has these talks with the knight about being a respectful and accepting her as her: “No shame in poverty if the heart is gay, As seneca and all learned say./Lastly you taxed me with being old.Yet even if you never have been told by ancient books, you gentlemen engage,yourselves in honour to respect old age”(290).The knight becomes ashamed of her for all her flaws, but the old lady tells him that this should not matter to him and being a knight these virtues should be obvious to him. She gives him a choice of how their marriage will continue on: “You have two choices; which one will you try? To have me old and ugly till I die, but still a loyal, true, and humble wife that never would displease you all her life, or would you rather I were young and pretty and chance your arm what happens in a city where friends will visit you because of me, yes and in other places too maybe”(291). In this scenario she gives him two choices for the fate of their marriage. He explains to her whatever she wants to do he will submit: “And have i won the mastery? Said she, since i'm to choose and rule as i think fit? Certainly wife, he

Margarita Engle, a poet, and novelist, once said, “Marriage without love is just one more twisted form of slavery.” In the eighteenth century, marriage was the exit door of many women from their homes whether they believed in love and filled their hearts with hope, or had no choice, and they were sold to men as if they were cattle. In The Story of an Hour, Kate Chopin shows complex issues such as marriage, independence, symbols, and ironies. After hearing the news that Brently Mallard was dead in a railroad accident, Richards, Mr. Mallard’s friend, went to the house to be next to Mrs. Mallard and to help her at this difficult moment. Contrary to what everyone was worried about, Mrs. Mallard knew that she would lament her husband’s death, but she was full of hope, dreaming of her freedom, appreciating life beyond the window, and a new beginning. Unfortunately, Mrs. Mallard’s dreams faded when she went downstairs and her husband arrived alive, and she could not stand it and died. Focusing on The Story of an Hour, there are three main points related to women in the early eighteenth century, such as oppressive marriages, women’s new perspective and ways of liberation, and women’s submission and obedience that demonstrates how women survived, even though they were not heard.

John Richetti argues that: “the early eighteenth-century amatory novella…outs one part of the antithesis I am working with: …the heroines are visited by overwhelming and ineffable…passion, obsessions that preclude self-examination and make a mockery of agency and self-consciousness” (336-337) in his essay “Ideas and Voices: The New Novel in Eighteenth-Century England.” Her mother, upon finding her daughter ill, feels “Pity and Tenderness” (Haywood 69), which is then “succeeded by an adequate Shame and Indignation” (69). Her mother is a representation of the exact ideas that the protagonist feared hearing of her now damaged reputation. Her mother hears Beauplaisir’s story after finding out the truth of her daughter’s schemes. She plans to have her daughter and Beauplaisir marry, to save her daughter from dishonour, but he knows nothing of his actions with the protagonist. Rather, the mother sends her daughter to a monastery in France because she finds him not at fault. Haywood demonstrates how women are at fault for the ruin of their virtue and honour, even though the sexual acts were mutual and consensual (except the first one, for the

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.

Yet the atmosphere of the play may render Malvolio’s aspirations less unreasonable than they initially seem. The feast of Twelfth Night, from which the play takes its name, was a time when social hierarchies were turned upside down. That same spirit is alive in Illyria: indeed, Malvolio’s antagonist, Maria, is able to increase her social standing by marrying Sir Toby. But it seems that Maria’s success may be due to her willingness to accept and promote the anarchy that Sir Toby and the others embrace. This Twelfth Night spirit, then, seems to pass by Malvolio, who doesn’t wholeheartedly embrace the upending of order and decorum but rather wants to blur class lines for himself alone.

During this time many women were forced into marriage, resulting in a great unhappiness. Both Kate Chopin and Guy de Maupassant state this lack of joy that was often experienced everyday by women. “It was only yesterday she had thought with a shudder that life might be long” (Chopin 68). If was as if Mrs. Mallard was sickened by the idea that her life and the way it was, would continue forever. Maupassant portrays Mathilde’s frustration in her marriage with the frequent use of the word “suffered” in relationship to her higher class wants and desires. “She suffered ceaselessly, feeling herself born for all the delicacies and all the luxuries. She suffered from the poverty of her dwelling, from the wretched look of the walls, from the worn-out chairs, from the ugliness of the curtains” (Maupassant 59).

From a feminist critical perspective, it is clear to perceive that her husband’s death was a release of freedom from her marriage. The text describes that at times, she did and did not love her husband. However, love had not mattered anymore because she was now free. Whether they loved each other or not, she would have still been his property. This restriction of freedom was no longer her cross to bear. The death of her husband would pave her a path for a new life.

In the early 19th century the men of society were dominant, they were considered the caregivers and are responsible for the actions of their women. When a woman would get into trouble they would be sent to their husband or father to be punished. Kate Chopin unlike many women did not have a male figure in her life. As an author she still had to prove herself to society that she was a good writer. Most female writers of that century wrote under a male name so they could be published, Kate Chopin wanted to be known for her work. Mrs. Mallard searches for freedom within her life. She feels trapped in her marriage, and her husband's death is her ticket to freedom. Kate Chopin shows Mrs. Mallard’s desire for freedom through the use of irony.

In, “The Story of an hour” by Kate Chopin is about the protagonist achieving her freedom as she has aspirations to become independent; which is her freedom. Through this short story, the protagonist Mrs. Mallard was confined by gender relations through marriage (Lucas). As noted in this short story there is gender inequality presented by both male and female in marriage, as both “believe(d) they have a right to impose a private will upon a fellow creature” (Chopin 204). Furthermore, the quote as mentioned illustrates the gender inequality present in marriage as either male or female enforce their other partner to follow orders and obligations. Thus, because of the inequality in gender relations, confinement is felt by the other partner. Consequently, leading to a lack of aspirations and a feeling of imprisonment felt by the other partner.

“Useless Beauty” is the story of Countess de Mascaret and her husband, Count de Mascaret. During their eleven-year marriage, they have seven children and the Countess has fallen deaf to otiose adulation from her husband. The Countess feels as though her husband loves her only because he asserts claim over her youth and life, over her ability to have children. He loves their children not as a father but again as a victory over her youth and life. One day the

Webster’s play The Duchess of Malfi is a tragedy about a forbidden love but more specifically a forbidden marriage, which leads to the deaths of the both the lovers and many other characters of the play. The theme of the forbidden is also portrayed through the Machiavellian qualities of certain characters as they lie and are deceitful. There is also the use of the motif of fruit which represents the forbidden. Lastly, the forbidden is shown using women. These are also shown in other pieces of literature, such as Paradise Lost, written by John Milton, however both writers portray the theme of forbidden in different ways.

The characters Hermia,Helena and Titania were effected most by the superiority role of the men in the play. This is because the men in the play, reach high circumstances to get what they what and to tell the woman what to do. Therefore, women's’ inferiority in the play makes it impossible for them to achieve true happiness attributable to the superiority the men in the play believe they

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.

The moral of Wife of Bath is that happiness in a relationship is when a woman is able to have control over her husband against a backdrop of the submissive wives of the Middle Ages. The prologue portrays a jovial woman who introduces herself and her beliefs on marriage. She has never been fond of authority and attributes her expertise in relationships to marriages with five different men. The Wife of Bath’s tale depicts a knight who needs to learn women’s greatest desire within a year in order to avoid beheading. The knight learns that “women desire to have the sovereignty and sit in rule and government above their husbands, and to have their way in love” (Lines 156-8). In the end, the sovereignty the knight gives to his old wife transforms her into a young woman and, “they lived in full joy to the end” (Line 325). The tale is not only a reflection of one’s interest to dominate a relationship, but also a need