Bread Givers

While many works of fiction portray love through a utopian perspective where true love is easy to achieve, the story of Cyrano follows a failed quest for intimacy, where Cyrano’s own tragic flaws stop him from achieving the romance he dreams of. It is these same tragic flaws that help to define Cyrano as a tragic hero in Edmond Rostand’s Cyrano de Bergerac, and it is these same flaws that eventually lead to Cyrano’s tragic fall. However, some of these flaws are also the admirable traits of the large-nosed hero’s character that also help to define him as hero. Due to this fact, Cyrano is able to gain respect from others, but never truly reaches his ultimate goal of having Roxane’s love. While Cyrano never truly experiences Roxane’s

The Roaring Twenties echoed its symphonies in both riches and rags, juxtaposing the two jarring lifestyles to a key. A novel by Anzia Yezierska, Bread Givers, shows that divide through a narration of daily living from a Jewish immigrant family who not only struggles for their prosperity, but also finding a place in an American society without truly feeling American at first. Yerierska, a Jewish-novelist, depicts flashes of her childhood through her fictional world of Bread Givers, which was published in 1925 only to be buried in time itself to resonate with the generations of readers to come.

Bread Givers was written by Anzia Yezierska and published in 1925. In the novel, the Smolinsky family had immigrated to America looking for a better future and escaping from the pogroms in their native country. The family moved to New York City where they live in a tenement on Lower East Side of the city. The book focuses in Sara Smolinsky who is the youngest of the Smolinsky daughters. She wants to be independent, so more than anything she wants to live her own life. At a young age, Sara is smart enough to understand the unhappiness and frustration that her and her family go through poverty and tradition of the old world. A sense of purpose is spread in her mins to achieve freedom, so she rebels against the values of her family’s traditions

Out of all the characters in the play Thomasina is perhaps the most beautiful. She is innocent, driven by academic zeal, and a genius of epic proportions. What is truly the most beautiful trait about her is that unlike Mrs. Chater and Lady Croom, it is “an insult in a gazebo,” (6) that she desires but true love. The final waltz that Septimus and Thomasina share could not be any more romantic as “Septimus holding Thomasina, kisses her on the mouth. The waltz lesson pauses. She looks at him. He kisses her again, in earnest. She puts her arms around him.” (95) The affection the two feel for each other is a huge part of any person’s definition of paradise: two people truly in love with each other uncorrupted by the society around them. Yet even in this seemingly paradisiacal situation, Thomasina still tragically dies.

Love is not a concept easily defined to its fullest capacity. It has been personified, resented, and over exaggerated throughout the history of drama and has left readers on the edge of their seats as plots unfold. With love, there are no set guidelines or feelings that can go along with a person’s actions, but there are societal expectations that cause a couple a great deal of misery if their love does not fit within them. Renaissance dramas often broke through these expectations to challenge the way people viewed and thought about love. Love is portrayed as a means for freedom, a lustful exchange, and a reward for not following social expectations in the plays The Duchess of Malfi, ‘Tis a Pity She’s a Whore, and The Shoemaker’s Holiday proving that it is an aloof social construct with a range of meanings.

Through all of his affairs with women, Flaubert began to make "a series of maxims about women" in general (Bart 258). He even tried to explain these ideas to Louise. Flaubert believed all women "were never frank with themselves, because they would never admit the purely physical aspect of attraction and must always deny the existence of evil or vice in their loved ones" (Bart 258). "In reality [women] longed in everything for the eternal spouse and always dreamed of the great love of a lifetime" (Bart 258). Eventually, Flaubert would make this "Emma's confusion" (Bart 258). Emma imagined a man:

Flaubert personifies horses in Madame Bovary to aid in the enhancement of characterization and themes that Flaubert establishes in Emma’s relationships to suggest . Through personification, horses function as an enrichment of the previously established depictions of the characters. Horses enhance the depiction of Charles as simple minded. The horses intensify the nature of Emma and Charles’ relationship. Flaubert implements horses to aid in the characterization of Rodolphe as moronic. Horses enhance the depiction of Emma as reckless. The horses intensify the nature of Emma and Rodolphe’s relationship.

Woman were taught to be seen and not heard, they were to be oogled by men, while being silent and angelic like creatures themselves such as the infamous ‘Madame Bovary’ by Gustave Flaubert where gynocritics have analysed Emma Bovarys position in an imperial society ‘interpreting her existential malaise and obsession with fantasy as a product of her limited role in bourgeois society’. In Tony Tanners article for example he argues that Emmas sickness relates to the woolliness of her position in society. Woman were seen as unfit and simply incapable of writing. Millett argues that sexual politics is mens attempt of maintaining dominion over woman. This theory encouraged universities to make a study into falsely projected images and stereotypes of woman in fiction. Thus, encouraging other writers to get involved such as, Elaine Showalters ‘A literature of their own’, and Susan Gubar’s ‘The madwoman in the attic.’ This study of female representation in literature aimed to undo a patriarchal strategy which included ‘feminine’ and ‘female’ as one, regardless of differences in personality, and ‘to avoid patriarchal notions of aesthetics, history

Emma Bovary’s ennui (Identities, p.) was deep-rooted and manifested itself from an early age. Flaubert uses foreshadowing to show the reader exactly what the young Emma Rouault will become. The convent is Emma’s earliest confinement and one of the few places that intrigues her. As the critic Tanner highlights,

Emma bovary was born in a middle class society. Emma believed in her imaginations more than her reality. She was confused when she started reading books about fantasies, sex and other things. What destroyed Emma that she doesn’t know the different between her reality, and her illusion. Emma starts to have different affairs with different men. But at the end, Emma finds out her life with Charles is boring, and she tries to escape form it. Then she fell in love with a wealthy landowner but at the end, she decides to leave him because she doesn’t see nothing about their relationship is romantic. But at the end, Emma becomes ill because Rodolphe leaves her, and she decides to kill herself because she thinks it will be a romantic death, and because she owe people money. Emma was disloyal to her men, she was passionate to her religion, and she was very irresponsible.

The confinement of females under mental and physical distress is the central theme in Gustave Flaubert’s Madame Bovary, and Wilkie Collins The Woman in White. Flaubert’s Emma Bovary is a narcissist whose self-induced obsession with literature restricts her from having a happy fulfilling life, as nothing compares to the excitement and adventures she reads in her novels. While the plot of Wilkie Collins The Woman in White depicts the story of two women who are deceived and incarcerated in a private asylum. These asylums proliferated in the mid nineteenth-century as alternatives to the established large-scale public hospitals/asylums. This assignment will compare and contrast the methods used by both authors to define confinement, including structure, setting, narrative techniques and genre. Furthermore, it will discuss the various forms of transgressive

In the whole part, nobody like Madame de Merteuil she plays with everybody’s feelings despises other women and kind of describe herself as self-made women, but she is a very smart woman who knows how to play the game she been playing. To her love is exists but women and men must enslave each other when someone in love to her seems to have no interest when the opportunity presents itself. The important way Madame de Merteuil want to satisfy is to have the latter back. Merteuil encourages the girl to marry Gercourt and keep him as her lover which is unexpected. Valmont is a drama film with characters who may be associated with the concept. Valmont is more interested in pursuing Madame de Tourvel, that women let Valmont know that she would never be unfaithful to her husband, but the larger meaning of the concept is to get the letter back from Valmont if he succeeds he can sleep in bed with Madame de Merteuil. Valmont is unsuccessful, but she refuses to sleep in bed with him, that makes them choose war and cause him to death, letting Valmont and Merteuil exposed. I guess she is a woman who wants reputation and plays with everybody’s feelings. To her love is exists but women and men must enslave each other when someone in love to her seems to have no interest when the opportunity presents itself. Death in Venice is a 19th-century novel that shields away from a heavy religious influence. It took an opposite approach and for the time it touched on subjects like

The theme of confinement of females under severe mental and physical distress is a central theme in both Gustave Flaubert’s Madame Bovary, and Wilkie Collins The Woman in White. Flaubert’s Emma Bovary is a narcissist, whose self-induced obsession with literature restricts her from having a happy fulfilling life, as nothing matches the excitement, romance, or adventure of the heroes in the novels she reads. While in comparison, the females in Wilkie Collins The Woman in White, have their identity stolen, and are imprisoned against their will, by the protagonist cunning husband, and a villainous Count. This assignment will consider the methods the authors used to depict confinement within both narratives, including structure, setting, narrative techniques and genre, and ask why did Emma Bovary’s husband Charles and the Fairlie’s uncle and guardian Frederick

Charles Bovary met Emma because she was the daughter of a patient of his. Charles soons falls in love with her. They marry and move to Tostes. Yet Emma is not happy because marriage does not live up to Emma’s romantic expectations. She always dreamed of love and marriage but when she finally gets it, she does not want it anymore. She wants more than a small town boring life. That right there shows that she can never be happy or content with anything she gets in life. She will always be

Gustave Flaubert’s Madame Bovary masterfully explores the mid-19th century cultural scene, coloring the subject with his opinion. Through the book Flaubert lends insight into life in at the time, and imparts his opinions on the social world. He accomplishes these goals using the Bovary’s. Flaubert reevaluates characters through conflict, absence, juxtaposition, and selective thought examination to vilify the Bovary’s. Whether through necessity, or by purposeful ignorance characters rise and fall in their prominence, allowing Flaubert to lead the reader towards his opinion. A matter of debate exists regarding his purpose in this matter, and many critics have extrapolated that Madame Bovary is a critique on the bourgeoisie values.