The New Exciting Beauties Of Mary Fleming 's ' The Airship Party '

During the 19th century female authors were commonly degraded especially when books had a sexual nature. A now notable biography from this period is Charlotte Brontё’s “Jane Eyre”, a detailed account of the life of a young girl that blossoms into adulthood having to face the challenges and social norms of the time. In many works of literature a character intentionally deceives others to either hurt or offer protection. In “Jane Eyre” a character intentionally deceives a loved one with the intention to protect everyone including himself. This particular deception plays a large role in developing the characters of the narrative and the plot development, contributing to the work as a whole.

Women who had no claim to wealth or beauty received the harshest of realities in America’s Victorian era. Author Charlotte Bronte – from America’s Victorian era – examines and follows the life of a girl born into these conditions in her gothic novel Jane Eyre (of which the main character’s name

Her subsequent years at the Lowood Institution, although glossed over by Brontë, are when Jane emerges as an artist. Her first sketch is landscape with a crooked cottage whose graphic limitations bring about a daydream that evening in which she envisions a feast of “more accomplished imagery”(72).

Besides, Margaret as the maid to Hero, is under the deceptive appearance that veiled her witty nature. When she is with the woman, her true self is shown through the use of sexual innuendo when she refers woman as ‘maid and stuffed’ with the idea of pregnancy. She can have bawdy talk just like man when she responds to Hero by saying ‘heavier by the weight of a man’. In a patriarchal society, though women are suppressed, they are not totally submissive and innocent as their true self is veiled by the deceptive appearance.

Furthermore, the woman was never recognised as an equal in the world; with a “mane” for hair she is immediately relatable to an animal. When this connection is made, the woman is perceived as some strange creature; a mere mimicry of a real human. Harwood’s description of is a taste of how society views women; not quiet human. Now equipped with darker views of the flower filled day; the contemporary day reader is pondering to whether or not this vile practice is still belittling women of today.

These three brides represent the femme fatale, the fatal woman. The over sexualised women whose charms ensnare her lovers in bonds of irresistible desire, often leading them into compromising, dangerous, and deadly situations. These women serve as monstrous reminders of what happens if the boundaries of proper behaviour and traditional gender roles are crossed. These women, although beautiful, possess the wrong type of beauty, one of which brands them as evil, openly sexual and seductive women. Who, in addition lack the chaste passivity and fragility of the ideal Victorian lady, thus making them deserving of some form of punishment in order for them to be returned to their pure, innocent, albeit dead, human form.

Beautiful is perhaps not how one might describe the lives of the main female characters of Absalom, Absalom! The term tragically beautiful is perhaps a more accurate description of Rosa Coldfield, Ellen Coldfield Sutpen, and Judith Sutpen. Their beauty is in the context of their struggle to live, much less thrive, in such a male-dominated environment. The excommunication from all reality is a fascinating way of building a stage on which to work notions of gender. There is, therefore, a great dichotomy of gender that emerges from two different understandings of personal relation to the surrounding world. Faulkner’s treatment of the female characters brings forth moving images and incredible social commentary. A stinging general statement about women is made by Mr. Compson: “Years ago we in the South made our women into ladies. Then the War came and made the ladies into ghosts" (7). It is in this realm that the women can be understood.

A further denotation of nobility, in line with fashionable Neo-Platonism is that the beautiful are good, and the ugly, wicked. This is explicit in Miranda's case, both in herself and in the attitudes she expresses:

In fairy tales, female characters are objects, and their value centers around their attractiveness to men. Since fairy tales rely on cultural values and societal norms to teach morals or lessons, it is evident that fairy tales define a woman’s value in a superficial way. Fairy tales teach that, typically, beauty equates to being valuable to men because of their fertility and purity; whereas, ugliness equates to being worthless and evil, including being ruined because of their lack of virginity. Descriptions readers see from fairy tales like “Rapunzel,” and “Little Snow-White” revolve around the women’s, or girl’s, physical appearance, and both stories play out to where the women remain in a state of objectification. In addition, they are damsels

Thackeray’s portrayal of Jane Osborne in Vanity Fair is very troubling to the reader of the twentieth century. Grown to be a woman who is stuck under her tyrannical father’s roof, her life appears to be very confining and menial. Her sister snubs her, her nephew mocks her behind her back, her father mocks her to her face, and her main role in life seems to be as her father’s housekeeper. However, Thackeray’s portrayal would have had a very different effect on the Victorian reader. While all of these things which affronted us would have been equally awful to them, Thackeray uses another key phrase which has lost its effect on our modern minds: "that unfortunate and now middle-aged young lady" (448). Jane Osborne’s

  Beauty is generally classified into two main categories: physical and mental. In the Charlotte Bronte's Jane Erye, the protagonist rejects by choice and submission, her own physical beauty in favor of her mental intelligence and humility, and her choice becomes her greatest benefit by allowing her to win the hand of the man of her desires, a man who has the values Jane herself believes in. She values her knowledge and thinking before any of her physical appearances because of her desire as a child to read, the lessons she is taught and the reinforcements of the idea appearing in her adulthood. During the course of the novel she lives at five homes. In each of these places, the idea of inner

Ever the keen social observer, Jonathan Swift (1667 – 1745) often expressed his reservations about the competences of the female mind through satire or by employing alternate literary voices. However, his ridicule of the female condition does not entail that he was simply a crass misogynist. In reality, the satirist scorned humanity in general: both men and women were unable to escape his seething misanthropy. Swift’s moral satire includes three notorious poems: “The Lady’s Dressing Room,” (1730) “A Beautiful Young Nymph Going to Bed,” (1731) and “Strephon and Chloe” (1731). Human beings tend to delude themselves and see order and beauty where none exists, yet in these poems both the male subject and the reader become disillusioned over the discovery of female humanity. Therefore, Swift seems to imply that life based on delusion usually ends in bitter disappointment, and thus attempts to free us from our prejudices and the futile denial of our basic nature. Furthermore, the author finds in Esther Johnson, or “Stella,” the perfect example of the redemption he aims to imbue in the rest of humanity. Thus, through his poems concerning women, especially Stella, Jonathan Swift reinforces his belief that all humans – even women – are capable of bettering themselves.

Although Shakespeare did a phenomenal job of portraying the beauty of an imperfect woman instead of the cliche ways of a common love sequence, it is more important to divulge into a fascinating confrontation within Crazy Jane Talks with the Bishop. In the poem, a glimpse of the conversation between the Bishop and a woman, whose appearance called for the Bishop’s unwelcomed input, is illustrated within the lines of the stanzas. The bishop went to tell the woman that her appearance made her appear that she lived in “ some foul sty.” Hence the bishop judging her, the woman was led to defend herself against the strikes against her character. She began to expose the truth to the Bishop by explaining that “fair needs foul”, and that the way that she chooses to

Mrs Beast is the penultimate poem of the collection. It helps to sum up Duffy’s aim of The World’s Wife: to highlight the female voice by looking at human history. The entire poem is a retelling of the fable of ‘The Beauty and the Beast’ by Jean-Marie Le Prince de Beaumont. Beauty sees past the Beast's outward appearance, bringing the feminist rejection of objectification to the fore. However, Beaumont's portrayal of Beauty as a submissive, obedient daughter to her father and servant to the Beast is anything but feminist. Duffy re-works the tale to explore her thoughts about feminism and feminist

The perfection of disguise is thus essential to the higher purpose of the comedy. Rosalind was fair; but after having seen her in her brilliant beauty at the court of her usurping uncle, we must be content, as she was, to see it browned to the hue of forest exposure, and deprived of all the pretty coquetries of personal adornment which sit so well upon her sex, and to find in her, our very selves, the outward seeming of a somewhat overbold and soldierly young fellow, who is living, half shepherd, half hunter, in welcomed companionship with a band of gentlemanly outlaws. Unless all this is set very clearly and unmistakably before us by the physical and merely external appearance of our heroine, there is an incongruity fatal to the idea of the comedy, and directly at variance with the clearly defined intentions of its