the laws of man cry out against it. the voice of God cries out against it- and so do I.”(284) This humorous approach of satire to pointing out society's general misconception of females is again present when Howe discusses a woman's viable options to get what they want and how to achieve there desires. She goes on to say “Women, we don't need vote in order to get our own way”(288), but rather cry ,“crying always brings them around. get what you want.”288) “Make a scene.”(288) “That is so much more dignified and refined than walking up to a ballot and dropping in a piece of paper.”(288)
A. Rose Miller Period 5 11/21/2012 Lady’s Dressing Room Essay “A Lady’s Dressing Room” and Montagu’s Response The poem, “A Lady’s Dressing Room” is of a crude sort of off-color humor. I find it repulsive, in-your-face, and indecent. Lady Mary Wortley Montagu’s response was certainly understandable. The many insults she wrote toward men were justified considering what Jonathan Swift had wrote about women.
“The critic asks “is this believable?” The novelist, “how can I get them to believe this”? In short she argues that a good novelist always has some sort of conflict to tell and it must be suspenseful. “Something other than breakfast”. She uses witty humour to loosen the audience up. Atwood discusses the several genres of fiction that are available in this time and explains how this is not only a time of gender crossover but of genre crossover.
However, the idea of women being unequal to men is quickly dispelled by Webster who appears to mock the misogynistic characters of the play and indeed, very possibly the misogyny of society as a whole at the time. This is most apparent through his evolution of Vittoria as a character and also a symbol of the downfall of sexism. This is most striking when considering Flamineo’s comment that “[perfumes, when chafed] expresseth virtue, fully, whether true, or else adulterate.” Portraying a key theme throughout the play of a true nature disguised beneath a thin veneer of sweet nothings. This facade of Vittoria’s is first revealed to the audience through her manipulation of Bracciano in her dream sequence. Whereby her constant play on the word “yew/you” (“both were
However, not everyone agrees with the heavy stereotypes laid down by the social order such as male dominance and proper courting. Marie de France is one of these people. She depicts her views of gender expectations through literature. Within the poem Guigemar, Guigemar and his lady fulfill and contradict what would be considered as gender norms within society: female inferiority, traditional courtship, and male dominance. Marie de France does this to criticize and combat the societal expectations and inherent inequalities in Norman England.
This is a metaphor that Shakespeare is using to say that Laertes is telling Ophelia not to “dally in the daisies” while he himself will be doing just that in France. Later in the scene Polonius enters and after giving Laertes a long winded speech about being a good person; he turns to Ophelia and asks her what Laertes told her. Ophelia tells Polonius what Laertes said and he responds be saying “Affection! pooh! You speak like a green girl,” (i, iii, 101).
The constant use of "I" puts us right in the narrator’s head and allows us to empathize with her. Ironic Indirection If we took the narrator’s words at face value, we would believe that her husband is kind and loving, that she really is physically ill, and that women really do get trapped in wallpaper. All of this is questionable at best and mostly dead wrong. This is part of the fun of first person narration – you’re never quite sure if the narrator’s perceptions actually reflect what’s going on. The narrator's tone also clues us into her character – her uncertainty and hesitation at the start of the story, and her determination towards the
And we can make room on the window seat. I don't play with that old stuff anymore. May as well use the space." (p.103) | | Indicates that she is rude and considers victoria as a childish girl. | Indicates that she is kind since she is ungrudgingly empty the cest and cupboard for clarette's suitcase.
Analysis: Lady Capulet is a very forceful mother. Much like Romeo, Lady Capulet is not practical and uses literary devices to express her feelings. Lady Capulet is very manipulative as well when it comes to her children. It is expected that Lady Capulet would still make Juliet marry Paris even if she didn’t want to. William Shakespeare compares Paris to a book because Lady Capulet thinks he is interesting.
Donna Woolfolk Cross explains in her article, "Propaganda: How Not to Be Bamboozled" that propaganda shapes our attitudes on thousands of subjects by tactics such as name-calling which "consists of labeling people or ideas with words of bad connotation" (Cross 210). Aunt Lydia uses name-calling by stating that these women were lazy sluts and explains how important and how much better childbirth is in Gilead in comparison to the old days. Her manipulative speech is what blocks the handmaids from thinking, only to react unquestioningly. Cross's article explains that glittering generalities "try to get us to accept and agree without examining the evidence" (Cross 211). Aunt Lydia's use of glittering generalities and convincing tone of voice makes these women accept whatever she defines them as, giving no reason to think otherwise.