At first sight, nil in these three plants of literature seems to be in common. But when we read them and immerse deep into the apprehension of the texts, we finally find one common characteristic. The point is that all three plants represent an image of a adult female as a supporter. But their characters are of assorted sorts. The cultural and temporal differences in organizing a stereotype of a adult female character in literature are of great importance and involvement to the modern literary scientific disciplines. Therefore, we shall compare the characters of adult females depicted in these texts and individual out their similarities and differences.
The first portion of the essay would depict the character ofA Joy-Hulga in “ Good State Peoples ” by Flannery O’Connor. In the 2nd portion we shall discourse the character of Miss Emily in “ A Rose for Emily ” by William Faulkner. The 3rd portion would state about the image of a Lost Sister in Cathy Song ‘s verse form “ Lost Sister ” in comparing to traditional character and function of a adult female in Chinese society. And, eventually, portion four of our essay will compare the three different images to individual out differences, and possibly, some common characteristics. The reasoning portion will repeat the subject of this essay and highlight its achieved consequences.
The first literary work, which we will discourse here, is “ Good State Peoples ” by Flannery O’Connor. The scene here is a little small town far from the nearest metropolis, where Mrs.A Hopewell, together with her girl Joy and a maidservant Mrs. Freeman is seeking to do ends meet. It is Joy, who is of involvement to us. She is 32 old ages old, to a great extent built with light-haired hair and bluish eyes. Though she was non really attractive, her female parent, Mrs. Hopewell had a idea that “ aˆ¦there was nil incorrect with her [ Joy ‘s ] face that a pleasant look would n’t assist ” ( O’Connor, 1955 ) . Joy had her leg shooting off in a hunting accident when she was ten, since so she became ill-mannered and grave and detached: “ It seemed to Mrs.A Hopewell that every twelvemonth she grew less like other people and more like herself – bloated, rude, and squint-eyed ” ( O’Connor, 1955 ) . Equally shortly as she became 20 one, Joy had her name changed to Hulga, because “ aˆ¦she had arrived at it foremost strictly on the footing of its ugly sound and so the full mastermind of its fittingness had struck her. She had a vision of the name working like the ugly sweating Vulcan who stayed in the furnace and to whom, presumptively, the goddess had to come when called ” ( O’Connor, 1955 ) . It was a typical mental reaction on her childhood ‘s injury, to roll up in her individual everything ugly, rude and unpleasant. The same ground was to her withdrawal from other people. Besides, Joy-Hulga had a weak bosom, and “ aˆ¦the physicians had told Mrs. Hopewell that with the best of attention, Joy might see 45 ” ( O’Connor, 1955 ) . And the Ph. D. grade in doctrine did non make her any good, on the contrary, it made her believe, that she is excessively smart for “ regular people ” and made her to look with contempt upon others. Refering this, Mrs. Hopewell thought “ aˆ¦she [ Joy ] is superb but she did n’t hold a grain of sense ” ( O’Connor, 1955 ) . Furthermore, all Joy ‘s actions and words make us believe that this so called “ wisdom ” of her are no more than a facade, a pretentious mask, under which there is merely a frightened kid concealment.
But everything alterations when Mrs. Hopewell has a visitant – a immature adult male from the state, “ the salt of the Earth ” , Manley Pointer. He is of the type that is most hated by Joy – a state sap, who does non hold himself a sap, though. Surprisingly, they have something in common with Joy. Manley has a hebdomad bosom besides. Furthermore, he told Joy that he loves her and was infatuated with her at first sight. Though Joy thinks it to be amusing, she decides to score that guiltless male child to play a kind of gag on him. She is certain of the power of her head and that no feelings could be so strong to overpower it, particularly if she thinks the affair is non serious. So, they agree to run into on the route at the gate and so put off on a field day in the forests.
Manley Pointer appears to be a image of artlessness and simpleness. But Joy does n’t cognize that people can merely feign what they are non, because all her communicating with human existences was limited to wrangles with her female parent and Mrs. Freeman. A pleasant immature adult male turns out to be some kind of a lunatic. Manley loves to see his victims helpless. So, when he gets keep on Joy ‘s unreal leg, he leaves her in the wilderness to decease. The terminal of the narrative does n’t shed visible radiation on what had happened to Joy after Manley left her. But there is a hope for the better.
In the terminal, Joy is fooled by a adult male, who seems to be much less intelligent than she is, but he is the 1, who has mastered the art of misrepresentation to the highest grade. After all her schooling and a figure of grades in scientific discipline, Joy is still but a hebdomad adult female, who falls a victim to her feelings of shame and love. With all her mental composite she is non the 1 to stand freely in the universe of existent people and existent adversity.
“ A Rose for Emily ” by William Faulkner is a great narrative about Jefferson City, in the South of America by the terminal of 19th – beginning of twentieth century, merely after The Civil War. This post-war epoch was filled with compunction, depression and feeling of ageless decay, as for the Southern States, which were Confederate during the period of Civil War. It is reflected in the narrative in a signifier of description of personal life of Miss Emily Grierson, a supporter of the narrative, and in the image of her ever-crumbling, one time brilliant house.
Miss Emily Grierson was a kind of a typical nineteenth century adult female. After her male parent ‘s decease and after she had been deserted by her sweetie, she could be seldom seen in the streets. She fell ailment of heartache and desperation, which fell upon her so all of a sudden and to a great extent, for a long clip: “ aˆ¦she was ill for a long clip. When we saw her once more, her hair was cut short, doing her expression like a miss, with a obscure resemblance to those angels in coloured church windows – kind of tragic and serene ” ( Faulkner, 1930 ) . Both these events and a illness had triggered something in her head and since so she became huffy in a manner. To her townsman and neighbours it was non surprising, because they knew she had insanity in the household. The last bead, possibly, was Homer Barron, a Northerner, whom she met while he was paving the streets of Jefferson City. He was a “ large, dark, ready adult male, with a large voice and eyes lighter than his face ” ( Faulkner, 1930 ) . Miss Emily shortly fell in love with him. But Homer was non that perfect. In Jefferson there were known that “ Homer himself had remarked – he liked work forces, and it was known that he drank with the younger work forces in the Elks ‘ Club – that he was non a marrying adult male ” ( Faulkner, 1930 ) .
She killed him finally, poisoned him with arsenous anhydride. But the offense was non uncovered until Miss Emily had died of a illness and age. The rotten organic structure of Homer Barron was lying on her bed and beside it the metropolis governments found a yarn of grey hair, similar to that of Miss Emily.
As it was stated before, Miss Emily Grierson appears to be a typical specimen of adult females of her clip. She did non interfere in “ the affairs of work forces ” to which she, presumptively, included the affairs of money and revenue enhancements. In her male parent she had the lone defence against the abrasiveness of the outer universe. Miss Emily was like a house works, merely turning and taking no attention about herself, dependant on person who would make it for her. She did non travel out much and had no friends in the metropolis. After his decease and the treachery of her sweetie, she felt herself helpless and had small desire to populate. A typical melancholy disposition was moreover undermined by an built-in unstable head. Her one time beautiful house had crumbled in dust without attention, reflecting her mental and physical province. It turned to be her crypt in the terminal.
And, eventually, the verse form “ Lost Sister ” by a Chinese American poetess Cathy Song. The verse form itself represents a sort of narrative about the in-migration of Chinese adult females to the USA. It tells us but merely a small about the place of a adult female in Chinese society.
And the girls were thankful: A
They ne’er left place.
To travel freely was a luxury
stolen from them at birth.
Alternatively, they gathered forbearance ;
larning to walk in shoesA
the size of teacups,
without interrupting –
the discharge of their motions
every bit dormant as the frozen willow,
every bit redundant as the farmyard hens. ( Song, 1982 )
Truly plenty, in traditional Chinese society adult females were oppressed and disrespected.
They were subordinated to their male parents, hubbies, brothers and boies. Arranged marriages left no topographic point for adult female ‘s wants. Even the parents of Cathy Song were non an exclusion. Her female parent, Ella Song, was of Chinese American and her male parent, Andrew Song, was a second-generation of Korean American. Their matrimony was arranged by agencies of interchanging exposures, so Ella was a so called “ image bride ” . The tragic destiny of a Chinese adult female, “ larning to walk in places the size of teacups ” , made a immature Chinese adult female, a fictional “ lost sister ” of a poetess, to travel for a new life to America.
There is a sister
across the ocean,
who relinquished her name,
dilutingA jade viridity
with the blue of the Pacific.A
Rising with a tide of locusts,
she swarmed with others
to deluge another shore. ( Song, 1982 )
Once in America, she hopes to happen new life and new possibilities for herself and her future kids.
there are many roadsA
and adult females can stride along with work forces. ( Song, 1982 )
What she did non cognize was that she would be lonely and at a loss in a foreign state, where there is cipher to speak to and cipher to assist in a province of hurt. And in that province she thinks of her fatherland, of her female parent and this Chinese miss is non certain any longer, if she made a right determination to travel in to America. Possibly it was better to remain still oppressed and underestimated, but with her civilization and heritage near by? Was that truly Jade Green, her name, which gave her female parent and her female parent ‘s female parent power to defy their oppressors? If she had relinquished her hereditary name did she by the same act relinquished her civilization and dealingss?
You find you need China:
your one fragile designation,
a jade linkA
handcuffed to your carpus.
You remember your female parent
who walked for centuries,
and like her, A
you have left no footmarks,
but merely because
there is an ocean in between,
the ceaseless infinite of your rebellion. ( Song, 1982 )
That feeling of uncertainness is yet to be overcome by her, but we may trust that she will make it, because we know what she does non – that your fatherland is non a topographic point, it is in your bosom that you must seek for it. This “ lost sister ” is non lost at all. Finally, she will happen herself in this foreign land.
In our concluding essay we had to compare the characters of women-protagonists in three literary plants: short narratives “ Good State Peoples ” by Flannery O’Connor, “ A Rose for Emily ” by William Faulkner and a verse form “ Lost Sister ” by Cathy Song.
We may reason that in all these instances we have a character of a weak adult female depicted. In instance of Joy, her attitude of rational high quality over other people turns into a failing. Like Robert Heinlein one time wrote: “ Never undervalue the power of human stupidity ” . On the contrary, Miss Emily Grierson has a weak character from her birth. In her life she ever laid religion and turned for support to other people and when her destiny left her without such support she succumbed to grief and desperation. Sadly, if she would be a small stouter she might populate a good life. Merely in the instance of “ Lost Sister ” by Cathy Song we can see a different type of a adult female character. A Chinese adult female immigrating to the USA must hold undergone great emphasis: she appears in an foreigner environing without sufficient cognition of English. She can hardly last. But there is still hope for her, if she will turn to her heritage and larn to be patient and withstand adversity like her female parent did back in China, and her female parent ‘s female parents ages before her birth had done.
In this manner we have achieved the end of our concluding essay.