Women's Sexuality in the late 19th century
Women faced many limitations on their sexuality in the 19th century, and The Awakening, The House of Mirth, and A New England Nun all seem to have a part in describing the restrictions women faced. The form used in the three stories used some specific conventions in the 19th century. First, the protagonist is usually a single woman looking to get married. Second, socio-economic class must be a factor in determining whom the woman will marry. Third, the novel must include many scenes that portray the proper and improper way to act within high society, and also outline differences and relations between classes. And finally, the novel usually ends with either the marriage or death of the female protagonist. During the late 19th century, this type of novel was one of the most popular novel genres. Wharton adapted the form in her own way to better suit the New York society. Wharton creates a social circle comprised of elegant New York snobs. Class mobility is a large factor in The House of Mirth, which shows the attempts of Lily to assimilate herself into the elite group, only to slide down the social scale into the working class before her death. A marriage to Pe
For Edna Pontellier, the protagonist of The Awakening, independence and solitude are almost inseparable. The expectations of tradition coupled with the limitations of law gave women of the late 1800s very few opportunities for individual expression, not to mention independence. Expected to perform their domestic duties and care for the health and happiness of their families, Victorian women were prevented from seeking the satisfaction of their own wants and needs. During her gradual awakening, Edna discovers her own identity and acknowledges her emotional and sexual desires. Edna Pontellier is a respectable woman of the late 1800s who not only acknowledges her sexual desires, but also has the strength and courage to act on them. Breaking through the role appointed to her by society, she discovers her own identity independent of her husband and children. The people Edna meets and the experiences she has on Grand Isle awaken desires and urge for music, sexual satisfaction, art, and freedom that she can no longer bear to keep hidden. Like a child, Edna begins to see the world around her with a fresh perspective, forgetting the behavior expected of her and ignoring the effects of her unconventional actions. "The very first chords which Mademoiselle Reisz struck upon the piano sent a keen tremor down Mrs. Pontellier's spinal column. It was not the first time she had heard an artist at the piano." Her flagrant disregard of reality is revealed when she mocks Robert's apprehensions about adultery, and when Edna leaves her children in the care of their grandmother without a second thought. Edna's independence frequently amounts to selfishness. The canary reacted to Joe's entering the house in a way that is similar to Louisa's emo
Some common words found in the essay are:
Louisa Ellis, England Nun, Edna Pontellier, Wilkins Freeman, Mademoiselle Reisz, Grand Isle, Joe Dagget, Grice Lily, House Mirth, Essay II, little yellow, yellow canary, little yellow canary, 19th century, animals woman story, edna pontellier, late 1800s, own identity, england nun, animals woman, sexual desires, discovers own identity, house mirth,
Approximate Word count = 1264
Approximate Pages = 5 (250 words per page double spaced)
|
