Female Independence in Frankenstein and Jane Eyre

Female Independence in Frankenstein and Jane Eyre Visions of Female Independence in Frankenstein and Jane Eyre. There are considerable ironies in the fact that, of the two novels considered here, it is Jane Eyre which is far more profoundly concerned with the possibility of female independence in a male-dominated world. Mary Shelley was the daughter of Mary Wollstonecraft, the proto-feminist, and of the radical thinker Godwin. She was the wife of the revolutionary poet Shelley, and a friend of Byron. Yet Frankenstein, for all its shocking subject matter, is in many ways a conventional work of its time, a sort of encyclopedia of Romantic attitudes, and its vision of the role of women makes little attempt to disturb the accepted views of her contemporaries. Charlotte Brontà «, by contrast, was a vicar’s daughter, whose most intense experience, it might be argued, was within her own family group, and who finally married a clergyman, and yet Jane Eyre is an intense exploration of a woman’s efforts to understand and maintain the integrity of the self against innumerable pressures â⠂¬â€œ the tyranny of Mrs Reed, the bullying of Brocklehurst, the inevitable inferiority of being the salaried employee of Rochester, and later his gilded possession, and then the massive egotism of St John Rivers in its guise as religious selflessness. The longing for independence is indeed the central issue of the novel, and it is the intensity of the vision and the complex and unhysterical analysis of Jane’s experience that give the novel its importance. Of course, the protection of the self is not just a female issue; it figures largely in Arthur Clennam’s story and in Pip’s. But for nineteenth-century women it had a particular poignancy, and as Jane longs for a wider life than that offered by Lowood, she declares that â€Å"Women are supposed to be very calm generally: but women feel just as men feel; they need exercise for their faculties, and a field for their efforts as much as their brothers do† (Brontà «, 1966, 141). The work is, as Margot Peter s says, â€Å"a novel essentially radical in its preoccupation with the themes of independence and liberty for the subjugated sex, Victorian woman† (Peters, 1973, 148). To apply a feminist critique to Mary Shelley’s Frankenstein must be a matter of some tact. There is little evidence of a direct influence of her mother’s ideas in the novel, though the critic Charles Robinson has argued that she was fully aware of her mother’s views, and was proud of her parentage. He claims that A Vindication of the Rights of Woman (1792) and Frankenstein (1818) are  two radically different English romantic works that nevertheless address similar issues about education and parenting. Mary Shelley may have been denied direct advice and nurturing from her mother, but she could at least indirectly seek that parent’s wisdom by reading her works. (Buss, Macdonald and McWhir,128). Frankenstein is full of the ideas of its time. The monster’s story is a study in Rousseauism. The landscape is Wordsworthian. Byronic and Beethovenian images can be detected in the notion of exploring, going beyond. Similarly the presentation of women in the novel is typical of its time. Men are the explorers, the scientists, the travelers, while women stay at home and offer affection, stability and compassion. Walton at the beginning of the novel is writing letters to his â€Å"dear sister† at home, a wife, who is â€Å"my dear, excellent Margaret† and whom he thanks â€Å"for all your love and kindness† (Vol I, Letter I, 18), while he asks â€Å"do I not deserve to accomplish some great purpose?† (ibid, 17). He writes of the master of the ship, who had planned to marry a Russian lady. He selflessly released her from the engagement when she revealed that she loved someone else, but her father insisted on the original match for financial reasons. â €Å"She was bathed in tears, and, throwing herself at his feet, intreated him to spare her† (Vol I, Letter II, 21). She is entirely in thrall to male power, and only the generosity of the master saves her. â€Å"What a noble fellow!† (ibid, 21). Such episodes simply reflect the conditions of the time. It is unlikely that Mary Shelley’s aim in this episode was to stir rebellion. Walton sees his sister as a mother figure. His youth was spent â€Å"under your gentle and feminine fosterage† (ibid, 20) which has refined and civilized him. This the monster notably lacks. Frankenstein’s story presents the female actors in a very restricted role. Elizabeth is the novel’s central positive female force, â€Å"the beautiful and adored companion of all my occupations and my pleasures† (ibid, 37). Curiously, she is presented to Frankenstein as a sort of property, â€Å"mine to protect, love, and cherish. All praises bestowed on her I received as made to a possession of my own† (ibid, 37). This piece of charming childish naivety in his thinking has an edge that must grate on the modern reader. The educations of Frankenstein and Elizabeth are most revealing. She is â€Å"of a calmer and more concentrated disposition† while he is â€Å"more deeply smitten with the thirst for knowledge.† So while she interested herself in such â€Å"girly† things as contemplating â€Å"the magnificent appearances of things, I delighted in investigating their causes† (Vol I, ch.II, 38). Girls do arts subjects, while boys do sciences! There is a tendency to stereotype here. Elizabeth has a â€Å"saintly soul† (ibid, 39), but acts largely as a supporter of others, â€Å"Her sympathy was ours: her smile, her soft voice, the sweet glance of her celestial eyes, were ever there to bless and animate us. She was the living spirit of love to soften and attract† (ibid, 39-40). In fact she has little other role. Frankenstein is away from home for six years, but we have very little information about what she does all that time, or what she thinks. After the death of the mother of the family (which, characteristically, is â€Å"calm† (Vol I, Ch. III, 45)), Elizabeth explicitly takes over the mother role, â€Å"the comforter to us all. She looked steadily on life, and assumed its duties with courage and zeal† (ibid, 45), and the only thing she can do when Frankenstein leaves for the university is to â€Å"bestow the last feminine attentions† (ibid, 46) on him. The energy of life, even if misdirected, is left to Frankenstein himself, who pursues scientific knowledge with a passion which seems to be confined to men. Elizabeth writes, longing to help him in his illness, describing her own life as filled only with â€Å"trifling occupations† (Vol I, Ch VI, 66). Justine is another bearer of female charm and good nature: â€Å"She is very clever and gentle, and extremely pretty† (ibid, 67). In fact all the women in the book share these harmless and undramatic positives. The only disagreeable one is the old woman in the Irish prison (Vol III, Ch IV). Elizabeth weeps over the death of William and blames herself, and Justine goes to her death full of benevolence and piety. The monster’s account of the De Laceys in their cottage continues the picture of the female as gentle guardian of the civilized. Agatha impresses him with her â€Å"gentle manners† (Vol II, Ch iii, 110), her job is preparing food, comforting the old man and â€Å"arranging the cottage† (ibid, 111). Safie is noted for â€Å"a countenance of angelic beauty and expression† (Vol II, Ch V, 119) and is characteristically occupied in â€Å"wiping a few tears from her lovely eyes† (ibid, 120). She sings â€Å"like a nightingale of the woods† (ibid, 121). Her â€Å"generous nature† is â€Å"outraged† by her father’s duplicity and tyranny (Vol II, Ch VI, 129). It is here that the monster begins to reflect on his own lack of parents, though it is the role of father he invokes; from the papers he discovered in the coat pocket â€Å"I learned†¦ that you were my father, my creator† (Vol II, Ch VIII, 141). He has seen so few mothers, after all! But the monster wants a mate, effectively an Elizabeth for himself: â€Å"My virtues will necessarily arise when I live in communion with an equal. I shall feel the affections of a sensitive being, and become linked to the chain of existence and events, from which I am now excluded† (Vol II, Ch IX, 151). The female will offer sensitivity and compassion. If a concern for independence seems absent from Mary Shelley’s women, for Jane Eyre it is a constant desire, and something by which she defines herself. She seeks liberty, not simply for license, but in justice to her sense of her own individuality. She will willingly serve, but not under conditions that violate that notion of self. At Gateshead she feels â€Å"Speak I must: I had been trodden on severely, and must turn† (Brontà «, 68), not because she wants revenge, but because of an intolerable feeling of injustice. She â€Å"would fain exercise some better faculty than that of fierce speaking† (70), but she is driven by the same drive that later will send her away from Rochester, a self-respect that will not be crushed. At Lowood she is again oppressed, by the bullying and hypocritical Brocklehurst, but here a solution is offered to her by Helen Burns, who reads Rasselas and demonstrates the power of a stoical courage in the face of adversity. Her advice is o f immense value to Jane, but ultimately the superhuman qualities in Helen make it impossible to follow her. When Helen is unfairly punished Jane wonders â€Å"How can she bear it so quietly?† (84). Helen is right to tell her â€Å"It is far better to endure patiently a smart which nobody feels but yourself† (88), but Jane is too red-blooded, to human and real to be able to accept Helen’s attitude. If Jane â€Å"thinks too much of the love of human beings† (101) as Helen says, that is a weakness that makes humanity valuable. Heaven and Hell cannot satisfy Jane, and Helen’s stoical quietism cannot satisfy her energetic self. Helen dies, perhaps indicating the impossibility of such a position for ordinary mortals, and Jane finds a satisfaction at the school under the intelligent Miss Temple. But in time she must seek â€Å"liberty†¦ at least a new servitude† (117). Thus she comes to Thornfield and Rochester, who finds her interesting because of the very quality of independence and self-respect which drives all her actions. As Mrs Leavis says, â€Å"The courtship scenes are peculiarly un-Victorian† (17) in their emphasis on equality between the partners, the result largely of Jane’s refusal to act the role of the humble dependant in their conversations together. She finds his directness refreshing: â€Å"A reception of finished politeness would probably have confused me†¦. The eccentricity of the proceedings was piquant† (152). She is not frightened of him; it is not in her nature to be so, such is her sense of the integrity of her selfhood. She is his employee, but â€Å"I don’t think, sir, you have the right to command me, merely because you are older than I†¦Ã¢â‚¬  (165). She likes his informality, but tells him that â€Å"for insolence†¦ nothing free-born would submit to, even for a salary† (166). He knows that â€Å"Not three in three thousand raw schoolgirl governesses would have answered me as you have done† (166), but delights in the freedom this leads to as much as she does. She feels she is being treated with true respect, and life opens up for her. When she goes away to Mrs Reed’s deathbed, and shows her true maturity in her wish to be reconciled with her, her absence only clarifies for her what she loves about Thornfield. She has been able to live â€Å"a full and delightful life† (281) in which her precious self has at last been allowed to flourish. â€Å"I have talked, face to face, with what I reverence, with what I delight in† (281). As he proposes to her he says â€Å"my equal is here† (282), the perfect tribute to her being, and the explanation of their mutual love. When she accepts his proposal she continues to fight with an almost instinctive strength against his attempts to convert her into a love object. She recoils from the unreality of his desire to â€Å"load these fairy-like fingers with rings† (287). She will not be â€Å"an ape in a harlequin’s jacket† (288), and would â€Å"rather be a thing than an angel† (291). She will not dress up for him, and hates the business in the silk warehouse (296). She feels â€Å"annoyance and degradation† (297), and thinks explicitly of the precious freedom of the self: â€Å"It would, indeed, be a relief†¦ if I had ever so small an independency† (297). She feels that he has become a conventional lover, whose aim is possession. All this, of course, co-exists with a passionate love for him. And her decision to leave him after the revelations about Bertha is similarly driven primarily by the horror of betrayal of the independent self. To see her action as sim ply moral horror is as beside the point as to complain of her inability to take a more emancipated attitude. To stay with him â€Å"I should then be your mistress† (331), and to do this would make her â€Å"the successor of these poor girls† (339) he has kept before. As she thinks of her own insignificance in the eyes of the world – who would care if she did give way to him? – what she hears is the voice of her own independent self: â€Å"I care for myself. The more solitary, the more friendless, the more unsustained I am, the more I will respect myself† (344). Although she speaks of laws and training, it is the deep sense of the vital importance of her own integrity, her own self-respect, which drives her to act with such resolution. In the novel plot is replaced by a series of revelatory episodes, each helping Jane to come to realization of what she truly desires. Her contact with St John Rivers clarifies what she wants and does not want. Being the teacher at the village school, for all its deprivations, is â€Å"independent† (381) and â€Å"free and honest† (386) compared with being Rochester’s mistress, but Rivers’ self-denial is unattractive, ultimately because it is dishonest, a distortion of his true self from â€Å"the bent of nature† (387), and, at core, a subtle weapon to destroy her independence and swallow up her precious integrity. But, although his appeal has immense power over her, she knows enough now to resist. â€Å"I want to enjoy my own faculties as well as to cultivate those of other people† (415), and when happiness beckons â€Å"I feel I have adequate cause to be happy, and I will be happy† (417). She tells him that she scorns his idea of love , with its wretched self-abasement, and she knows now that â€Å"God did not give me my life to throw away† (439). When she finally devotes herself to Rochester it is anything but a sacrifice. â€Å"What do I sacrifice? Famine for food, expectation for content† (470). The circumstances of nineteenth-century women, in a world where the opportunities open to men were almost all closed to them, make Jane Eyre a radical and courageous document, though Jane’s concern to maintain the integrity of the self is a central human issue rather than simply a feminist complaint. In Mary Shelley’s case it can hardly be argued that she is aware of or troubled by the restricted role of women in her novel. Despite her own mother’s views, it was difficult for her to escape from history, and from the deepest assumptions of her time. Indeed, if there is a feminist element in the book it is in the condemnation of – characteristically male – intellectual daring, and the dangers that result from the desire to go beyond the limits, which inspires Frankenstein to make his monster, and Walton to explore the Arctic. â€Å"The primary pattern underlying feminist writing is that of Frankenstein, a world in which cerebral man and monster are o ne† (Gordon, 428). Works Cited Brontà «, C. Jane Eyre. Introduction by Q.D.Leavis. Harmondsworth: Penguin, 1966. Gordon, L. Mary Wollstonecraft. London: Little, Brown, 2005. Peters, M. Charlotte Brontà «. Madison and London: Univ of Wisconsin, 1973. Robinson, Charles. â€Å"A mother’s Daughter: An Intersection of Mary Shelley’s Frankenstein and Mary Wollstonecraft’s A Vindication of the Rights of Woman.† In Buss, Helen M., Macdonald, D.L. and McWhir, Anne. Mary Wollstonecraft and Mary Shelley. Writing Lives. Waterloo, Ontario: Wilfrid Laurier U.P., 2001, pp.127-138. Shelley, M. Frankenstein. 1818 edition. Edited M.Hindle. Harmondsworth: Penguin, 1992.

Michael Ondaatjes The Collected Works of Billy the Kid Essay -- Colle

The Perception of Violence in Michael Ondaatje's The Collected Works of Billy the Kid A question that arises in almost any medium of art, be it music, film or literature, is whether or not the depiction of violence is merely gratuitous or whether it is a legitimate artistic expression. There can be no doubt that Michael Ondaatje's long poem The Collected Works of Billy the Kid is a violent work, but certain factors should be kept in mind before passing it off as an attempt to shock and titillate; certainly, the poem does both of these, but they are not the primary purpose of the work. For one thing, social context needs to be considered; Billy lived in the "Wild West", a time associated with range wars, shoot-outs and great train robberies. The entire legend of Billy the Kid has been built around his criminal activities and notorious reputation; indeed, the more popular this myth becomes, the more people he is accused of having murdered. If anything, it was a cultural fascination with violence that "created" the legend, perhaps even more so than anything the "real" Bi lly ever did. Michael Ondaatje comments on this phenomenon and actually offers an alternative vision of who Billy the Kid was; perhaps he was not just a blood-thirsty killer but a man who, due to circumstance and human nature, was continually being pushed over the edge. Ondaatje is more concerned with the motivations behind the acts of violence than the acts of violence themselves: "A motive? some reasoning we can give to explain all this violence. Was there a source for all this? yup -" (54). If they shock, it is to shock the readers out of complicity and encourage them to think about the nature of violence and their own capacity for it. Though it is more ... ...nstitutes a "fit" subject for poetry. If love is deemed suitable, should the expression of violence be any less so? Both are part of the human experience; indeed, it is hard to imagine one existing without the other. As Billy says, "I am here with the range for everything" (72), a range which includes "hands that need the rub of metal/ those senses that/ that want to crash things with an axe" (72). Michael Ondaatje gives us this range and then leaves it up to us to define our own "edge"; what are we capable of?.... What is our potential? Works Cited and Consulted Mundwiler, Leslie. Michael Ondaatje: Word, Image, Imagination. Vancouver: Talonbooks, 1984. Ondaatje, Michael. The Collected Works of Billy the Kid. Toronto: Anansi, 1970. Solecki, Sam. "Introduction." Spider Blues: Essays on Michael Ondaatje. Ed. Sam Solecki. Montrà ©al: Và ©hicule, 1985. 7-11.

4 Special Techniques of Technical Writing Essay

The four special techniques are DEFINITION, DESCRIPTION OF MECHANISM, DESCRIPTION OF A PROCESS, and CLASSIFICATION. These techniques are not types of reports and it is important to remember that these techniques usually appear in a single report. It would be exceptional to find an entire report, even a short one, only one of these techniques. For example, two containing or more techniques might be closely interwoven as a writer described the design, construction, and operation of a mechanism. The intermingling of these techniques, however, does not alter the basic principles of their use. These techniques can be studied most effectively by taking one technique at a time. 1. Definition In technology, words have precise, specific meanings; therefore there is a need for defining a technical term clearly. The extent to which a term should be defined or the length of a definition depends on the writer’s purpose and the knowledge level of the reader. Before going to the problem of â€Å"how to define†, it is better to â€Å"think about what should be defined first.† It is not possible of course, to set up an absolute list of terms and ideas that would require definition, not even for a specific body of readers, but it is possible and desirable to clarify the point of view from which the problem of definition should be attacked. 2. Description of a Mechanism A mechanism is generally defined as any object or system that has a working part or parts. Most often the term suggests tools, instruments, and machines. But other examples of mechanisms could be the human body and systems like the universe or a city, which is composed of parts that work together like parts of a machine. A technical man constantly works with mechanisms and always needs to understand them; what they do, what they look like, what parts they have, and how these parts work together. There are three fundamental divisions of the description and these are the  introduction, the part-by-part description, and the conclusion. 3. Description of a Process A process is a series of actions, and fundamentally the description of a process is the description of action. The action may be either one of two types. One type is that in which attention is focused on the performance of a human being, or possibly a group of human beings. A simple example is filing a work piece by hand; in a description of this process, emphasis would fall naturally upon the human skills required. The other type involves action in which a human operator either is not directly concerned at all, or inconspicuous. An instance is the functioning of a contactor. 4. Classification Classification is the orderly, systematic arrangement of related things in accordance with a governing principle or basis. The classifier notes the structural and functional relationships among things that constitute a class. In recording this relationships, the classifier employs certain conventional terms. Acquaintance with these convenient terms will make the rest easy to follow. Differentiate Mechanism is generally defined as any object or system that has a working part or parts while the Process is a series of actions and fundamentally is the description of action. Mechanism also has three fundamental divisions of description namely the introduction, the part-by-part description, and the conclusion. Process in the other hand has two types of action. The first type is focused on the performance of the human being or possibly a group of human beings. The second type involves action in which a human operator either is not directly concerned at all, or inconspicuous. Example of Each Technique: Definition -An Electrician is a Technician -A technique is a systematic procedure used to accomplish a complex or scientific task. Description of Mechanism -The pendulum of the clock swings to the left. The pallet moves in the opposite direction to the right. The right leg of the pallet engage a tooth of the escape wheel. Description of a Process -A dropped of blood traced through the entire body takes the following course: the blood with oxygen from the lungs goes through the pulmonary veins to the left auricle, to the left ventricle, and then to the aorta or great artery. This artery and its branches carry the blood to all parts of the body. Classifications -According to fuel consumption, cars can be categorized into two types, hybrid cars and regular cars.

The Grapes of Wrath by John Steinbeck - 589 Words

Seventy-five years later, John Steinbeck’s novel, The Grapes of Wrath, and the film adaptation, are still relevant to life now, because there are several relatable themes running through the book and movie. The novel depicts the about the economic inequality of the 1840s and 1930s. Yet still today, there is economic inequality. The wealthier people with jobs also look down on the poorer, unemployed people. Perhaps there is a fear that the jobless will come in and steal jobs. However, the American dream is clearly present in the novel and has been throughout history. There has always been, and will continue to be, economic inequality. The novel shows the economic struggle and disparity between different classes, the better-off â€Å"haves† and the poorer â€Å"have-nots.† The book shows the contrast between the Mexicans and the Americans in the 1840s and between the Californians and the Midwesterners in the 1930s. The Mexicans and were, economically, better off than the poor, hungry Americans traveling west. The Californians were also better off than the Okies, who desperately needed jobs. The novel and movie feature countless labor camps and Hoovervilles filled with dispossessed migrant workers from the Midwest. There is still economic disparity between different groups. Currently, there is unequal wealth distribution in America. According to the video â€Å"Wealth Inequality in America,† eighty percent of Americans collectively have only seven percent of all the wealth in America. OnShow MoreRelatedThe Grapes Of Wrath By Jo hn Steinbeck Essay1622 Words   |  7 Pages The Grapes of Wrath John Steinbeck, widely viewed as one of the most finest and powerful American writer, born to a middle-class family in 1902 in the Salinas Valley of California. Steinbeck is a writer who often spoke for the people. The Grapes of Wrath is a great movie, published in 1939, filled with many universal truths and views on human nature and society, especially where class is concerned. In the article, John Steinbeck The Grapes a wrath: A Call to Action says, â€Å"Steinbeck’s novel showcasedRead MoreThe Grapes Of Wrath By John Steinbeck1075 Words   |  5 PagesKirsten Lloyd Mr. Eldridge AP Junior English 21 August 2014 Grapes of Wrath â€Å"Sometimes even to live is an act of courage.† (Seneca), In the 1939 novel, The Grapes of Wrath by John Steinbeck, the reader accompanies the Joad family as they struggle to escape the crippling Dust Bowl of the mid- 1930’s. 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The Grapes of Wrath is Steinbeck’s way to expound about the injustice and hardship of real migrants during the Depression-era. H e utilizes accurate factual information, somber imagery, and creates pathos, allowing readers connections to the Joad’s plightRead MoreThe Grapes Of Wrath By John Steinbeck1190 Words   |  5 PagesThe Grapes of Wrath April 14th, 1939, John Steinbeck published the novel, The Grapes of Wrath. The novel became an immediate best seller, with selling over 428,900 copies. Steinbeck, who lived through both the Great Depression and the Dust Bowl, sought to bring attention to how families of Oklahoma outdid these disasters. Steinbeck focuses on families of Oklahoma, including the Joads family, who reside on a farm. 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