Washington Square Catherine Sloper Quotes

Lady Catherine De Bourgh’s long list of awful character traits does not end at being a supercilious woman, she also happens to be invasively domineering one as well. As discussed previously, Lady Catherine enjoys being the sole attention in a party of people by talking non-stop. In chapter 29 this is evident to the reader in the line, “to hear Lady Catherine talk…without any intermission” Austen (140). This shows that lady Catherine likes to have power over others and does not allow anybody else to speak because she’d rather have all the attention on herself. Lady Catherine is a very pushy character who gives her thoughts on all matters, whether they are hers or not. A direct example of this is in the quote, “delivering her opinion on every single subject” (Austen 140). This quote proves that Lady Catherine is an extremely pushy character who also is very

Catherine is forced to do lady tasks that she thinks are unbearable. "I can stand no more of lady-tasks, endless mindless sewing, hemming, and doctoring" (10). This quote shows

In Catherine's life, there are many things that she wish she could just quit forever, and run away forever. In the novel, Catherine Called Birdy, by Karen Cushman, she challenges the main character by putting her through some things that she may or may not like. For example, some things that she does not like include her marriage to most disgusting and in the world, Shaggy Beard, having to do the worst lady lessons all the time, and having to deal with her father that roars all day long.

The Hamilton Affair, a historical fiction novel written by Elizabeth Cobbs, centers around the love story of Alexander Hamilton and Elizabeth Schuyler in addition to incorporating their upbringings and accomplishments up until the time of their deaths. The story itself is divided into two parts each entitled by two words that appropriately summarize their theme: Part 1-Love and Revolution and Part 2-Betrayal in Redemption. There is an immediate shift in mood between these two parts in order to reflect the changing nature of the times. A constant excitement characterizes Part 1, as Alexander and his fellow colonists struggle for independence during the American Revolution and sparks fly between him and Eliza upon their initial flirtation and eventual marriage. This is particularly reflected in Cobbs’ vivid imagery of the setting where Eliza and Alexander first meet: “The fire’s glow on the red-flocked wallpaper gave a rosy hue to the polished silver and porcelain” (Cobbs 129). However, in Part 2, the so-called “honeymoon phase” of the Hamilton’s marriage is over, and the harsh realities of real life settle in, as Hamilton’s political and well as familial life is consistently tested, which ultimately leads to his affair with Maria Reynolds and the subsequent heartbreak Eliza experiences. Eliza’s inner dialogue establishes a nostalgic tone, as she ponders happier times where “everything seemed rosy,” and she and Alexander “danced until the wee hours” (210). Given the effects

The disorderly atmosphere of Wuthering Heights, generated by Heathcliff’s raucous behavior causes Catherine to gravitate towards a more uncivilized and mannerless version of herself. Several times, Catherine snaps at others and throws furious tantrums, as she scolds and even slaps Nelly for cleaning in Edgar’s prescence. The rambunctious setting of Wuthering Heights conjures a different Catherine, where, “to pracise politeness...would only be laughed at,” influencing her to act on rebellious

Catherine wishes for a love like Hester’s, who can’t access her own because of the society she lives in. If Catherine were to possess such a passion as Hester does, she would

Catherine is so wrapped up in her fictional world of reading that she becomes ignorant of her real life issues with Henry Tilney, for whom she has been love-struck since their introduction. She entertains herself with wild imaginings about his life and family. Catherine's imaginings foreshadow her eager desire for mischief as Austen's story develops. Catherine is endowed with a vivid imagination, but she has not yet learned to use it in concert with her perception, especially in understanding the interactions between people.

Soon after her own arrival in Bath, Catherine is followed by her brother James and Isabella’s brother John Thorpe. At the initial meeting with the boys, Catherine is mistaken on two different points, still being ignorant in her perceptions of other people. Although slightly thrown off by John’s manners, Catherine is unable to formulate her own negative opinion of him, too affected by the opinions of Isabella and James, and “her judgment was further brought off by Isabella’s assuring her…that John thought her the most charming girl in the world” (Austen 48). For Catherine, it is easier and more natural to accept the opinions of someone like Isabella, a mentor figure. Also, in the same scene, Catherine makes the assumption that her brother James has journeyed “so far on purpose to see me” (49). Catherine hastily jumps to this false conclusion, not having the experience to detect James’ continuous questions and compliments of Isabella as a sign of his true motives for coming to town: to visit the “prettiest girl in Bath” (49).

Catherine Is more apparent when she turns fifteen years old, we gain an insight that Catherine has developed into a different character, “her love for dirt gave away” and “grows quite a good looking girl” this shows the maturity of Catherine and the stages into adulthood. Catherine’s appearances change completed as, “her features were softened, by plumpness and colour”. Also, Catherine was “reading books of information”, Catherine is now showing traits of the “accomplished women” and the qualities of a heroine, nevertheless at the start of the novel Jane presents Catherine as nothing but a heroine and this shows how Catherine grows up and becomes more mature.

This places more emphasis on Kate to appear as a virtuous woman in society so that she is not considered an outcast. In conclusion, Garrick’s adaptation reveals that Catharine and Petruchio have more to benefit if they portray what society wants to see and his version heightens the two distinct labels of women through Kate’s final

Starting from the opening sentence of the book, Catherine is repeatedly described as a heroine: “No one who had ever seen Catherine Morland […] would have supposed her born to be an heroine” (15), “from fifteen to seventeen she was in training for a heroine” (17). Furthermore, the plot is filled with experiences that are imagined by her as grand events typical of the Gothic genre, only to end in everyday, normal happenings. These intrusions guide the reader to laugh at Catherine’s naiveté by mocking the way she is swept up by Gothic novels: “And now I may dismiss my heroine to the sleepless couch, which is the true heroine’s portion; to a pillow strewed with thorns and wet with tears” (86). As Katie Halsey puts it: “[it] shows Austen’s amused ability to resist and appropriate for her own purposes what she perceived as ridiculous or unnatural in the writing of others” (Halsey

For Catherine’s “…situation in life, the character of her father and mother, her own person and disposition were all equally against her” (Austen 1). She was fairly normal and did not have any of the commonly used characteristics of heroines working in her favor, despite being a heroine herself. Austen writes Catherine this was to parody the way women are written in novels. There normally has to be some catalyst that makes the heroine special, different than the average women. However, Catherine wasn’t incredibly poor, had two well-tempered parents, and preferred other hobbies “…to the more heroic enjoyments…” (Austen 1) that heroines were normally fond of. By completely disregarding the characteristics normally attributed to heroines, Austen creates a character that would not fit into the normal novel. She essentially gives Catherine the character of someone who is almost the antithesis of what a heroine normally is, and by doing this critiques the

Catherine’s growth is evident in the very first line of the novel as it states “No one who had ever seen Catherine Morland in her infancy would have supposed her born to be an heroine. Her situation in life, the character of her father and mother, her own person and disposition, were all equally against her” (37). Catherine’s lowly heroine figure is made known instantly so that her development is much more apparent at the end of the novel. From the start of the novel Catherine is not a typical heroine, she is unorthodox in all facets of her life including the status of her parents. Catherine is initially also an incredibly naive character and this fuels her

Like other Jane Austen novels, such as Emma or Pride and Prejudice, Northanger Abbey's primary trajectory is the development of the main female character. Even though Catherine Morland is not a typical female Bildungsroman, her realizations in who she is and who she is becoming are very evident throughout the novel. Webster's Dictionary defines the Bildungsroman as "a novel which traces the spiritual, moral, psychological, or social development and growth of the main character towards maturity." In this novel, the main developments of Catherine being traced are the social, psychological, emotional, and intellectual, in addition to her growth as a fully functional lady of society. This paper will focus on

The novel demonstrates both popular and familiar gender roles in the 19th century. Catherine Earnshaw, breaks through the stereotypes, and has a mesh of both feminine and masculine qualities. In the Victorian Era, men are seemed as superior to women. Her gender roles are beyond the social norm, as well as her husband Edgar, who is portrayed as more feminine. Catherine holds many masculine qualities such as being adventurous, extroverted, and determined.