In addition, she portrays similar tones such as desperation and mournfulness. In fact, in lines 30 to 24 her tone is at it’s most somber state as she expresses her guilt for being a bad mother to her “child” and believes she has not sent this child away prepared for the world’s cruel criticism. Furthermore, the diction is a device that coincides with the tone of the poem. Her choice of words all share a very strong connotation. As previously mentioned she uses the words ill formed and feeble to describe her unfinished writing’s fragility.
Bradstreet’s use of metaphor allows her to relate the complex relationships of being a parent to being an author. When the narrator calls her creation her “ ill-formed offspring of [her] feeble brain” she draws parallels between how parents can feel about their children when frustrated (line 1). The narrator refers to her work as a “ rambling brat” to show how difficult it is to accept something she has created (7). The narrator seems to feel this difficulty not only as an author but also as a mother. As a frustrated parent feels the narrator once again uses the metaphor of a child to describe how an author feels when their work does not turn out how they wanted.
Thus, Pearl’s existence gives her mother reason to live, bolstering her spirits when she is tempted to give up; acting as a hero who constantly saves her mother from the tortures of Puritan society. However, Pearl also acts as a constant remaindered to her mother of her inescapable sin, and therefore can also be seen as a non-heroic character. Throughout the novel Pearl constantly defends her mother when people of their community are threatening her. When Hester and Pearl are attacked by a group of children, who try to fling mud at them Pearl becomes angry. She frightens the children off and she throws rocks at them.
White Oleander by Janet Fitch demonstrates how the protagonist, Astrid Magnussen, encounters herself with many struggles and obstacles that she must overcome. The only source of family that Astrid has is her beloved mother Ingrid Magnussen, which shows her charisma in her own egotistic way. The type of affection expressed from mother to daughter causes Astrid to feel suffocated due to the fact that her mother sees her as an extension of herself rather than a particular individual. This provokes Astrid to experience a difficult time setting aside from her mother’s suffocation and outgrowing to become the individual she wants to be. Ingrid’s imprisonment causes Astrid to experience solitude when she is transferred to a foster home.
However, in the story "Girl", written by Jamaica Kincaid, also the anonymous poem, "Edward, Edward", mothers and their relationship with their children were depicted in the exact opposite of what was expected. Obviously, the initial expectation of a mother being present would serve as a means of love, encouragement and overall positivity. They were expected to have their children's best interest and to provide the best possible advice that a mother could give. However, in the texts, the mothers served as a means of creating hostility. This, ultimately strains the relationship between them.
Her fading youth only makes her more desperate for attention for herself and her daughter. Amanda makes sacrifices for her children as well as nagging them into oblivion: “Ella Cartwright! This is Amanda Wingfield! How are you, honey? How is that kidney condition….Horrors….You’re a christian martyr…” (Williams pg 1979).
Parents play a major role to influence their children’s characteristics and beliefs since they are the primary educators. In other words, the example they set via the actions they take and the decisions they make greatly impacts the behavior of the offspring. This is clearly seen in Pride and Prejudice by Jane Austen as Lydia, the youngest daughter in the Bennet family, is depicted to be the product of her mother’s failing position as a parent. Her immature behavior with others in addition to her elopement with Wickham justifies Mrs. Bennet’s unsuccessfulness to educate her daughter socially. Thus, Lydia’s lack of propriety and good judgment is a reflection of Mrs. Bennet’s inability to sufficiently fulfill her role as an effective mother.
Then in an instant author again switches the roles back, and we see Kai becoming forceful, angry and again taking the dominant role, and Faye regressing back to her frail and powerless state. With a Sorrowful Woman, a Feminist Critic would see the Mother as the aggressive one, showing disgust towards the child and being somewhat selfish, wanting things done her way. There are some critics that might expect the Mother to be the weak and submissive one. One would look at the Mother and assume she was attempting to take on the male/father role. Where you have the Father being somewhat forced to take on the role of the female/Mother.
Bella’s guilt caused by her mother’s fear of loneliness has left her short of any male relations. She cannot escape the wrath of her mother, and continually surrenders to her mother's will. Also, Bella has felt she cannot start her own relationship because her mother, in an effort to protect her living children, she has trained them not to feel by hardening them with punishments such as locking them in a closet or beating them with her cane” (Bloom, Harold. “List of characters in Lost in Yonkers. p67-68).
Competitiveness within the women seems to push the women to judge what is right and wrong, based on jealousy and envy as much as religious and social morals. We also see this competitive spirit forming moral judgment and actions in Edith Wharton's story, "Roman Fever", where again, the focus is the moral decisions made by women and the male is blameless. As the story unfolds we learn that both ladies, in their youth, loved Delphin Slade, and Mrs. Slade realized this and thought of Mrs. Ansley as a threat. For this, she had always considered Mrs. Ansley an adversary, "Would she never cure herself of envying her?" (Wharton, 1072) The story evolves to paint the picture of a female competition in which Delphin is but a pawn, blameless and controllable by women.