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Question: Texts frequently represent adult females as victims in a patriarchal society. How are adult females represented in two of the verse forms set for survey? During the late twentieth Century adult females remained constrained by gender ideals which they were expected to conform to ; subservience. piousness and beauty. This tyrannizing province of lower status experienced by these adult females is expressed and challenged by both Mary Elizabeth Coleridge and Amy Lowell through their geographic expedition of the exploitation of adult females in a patriarchal society. . The implicit in desire for freedom. which the poets Coleridge and Lowell illustrate in their several verse forms The Other Side of the Mirror and Patterns. brings consciousness to the repressive and rough environment adult females have antecedently been brought up in.

The ideal of muliebrity. imposed by the patriarchate. peculiarly highlights the importance of the physical beauty of adult females. To work forces. adult females have been identified as a prized ownership. acknowledged simply for their physical properties. proposing the dehumanization of adult females and how their female experiences become fiddling. Coleridge’s The Other Side of the Mirror. exemplifies this in ‘a face bereft of loveliness’ which stresses the indispensable facet of beauty through the positive intensions of ‘loveliness’ . This same face is so suggested as one that ‘no adult male on Earth could guess’ . further underscoring how. without beauty. adult females are discarded from the ideas of work forces. Similarly. Lowell highlights the importance and outlooks of feminine beauty through the representation of the ‘fine brocaded gown’ which places both a physical and symbolic limitation on the character in Patterns.

The motion of the natural environment. ‘blowing’ and ‘flutter [ ing ] in the breeze’ . juxtaposes with the restraint of the ‘stiff brocaded gown’ which depicts the idealized hourglass build of a adult female. despite the evident trouble in take a breathing and inability to walk comfortably. The usage of the plosive sound ‘k’ in ‘brocaded’ farther creates an uneasy feeling of jerked meat Michigans and starts. which is similarly accentuated by the action of ‘tripping’ . adding to the deepness of rough feeling. This uncomfortableness stems from the suppression of adult females in the Victorian age. symbolised through the predictable nature of ‘patterns’ . Like the stiff building and entrapment of forms. Coleridge structures her verse form utilizing a strong rhyming strategy of ‘a. b. a. b. c. b’ to implement the thought of ineluctable parturiency. For the two characters ( from each text ) . they are expected by the patriarchal society to compel to these forms. nevertheless the verse forms reveal that adult females yearn to interrupt free from the acceptable public face which they project to the universe.

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The inability for the female characters to show their true ego has required them to keep a private face. and therefore taking to inner convulsion. Coleridge explores the destructive consequence on emotions which suppression instigates in adult females. The character in The Other Side of the Mirror is established as person who is troubled and badly depressed through the initial rhyme of ‘wild… womanly despair’ . underscoring the despicable effects of populating a false and restrictive life. Unfortunately adult females must digest these damaging feelings entirely. articulated through the sibilance of ‘silence and in secret bled’ which creates a whispering tone and conveys a deficiency of look. The Other Side of the Mirror can be interpreted through a Christian reading where the private mayhem of the character. and finally for all adult females governed by the patriarchate. is represented by the tormenting experience of Jesus Christ during his crucifixion.

The spiritual allusion of ‘the thorny aureole’ depicts an image of a thorny aura. much like the Crown of irritants Jesus wore. which shows how adult females were victimised in the society which they lived in. The woman’s contemplation is paralleled to a messiah figure. enduring from hurts caused by work forces in power. and the Crown of irritants represents the laterality and important nature of work forces. The effect of the male outlook causes the characters suppressed inward choler and feelings turn outward and take away her comeliness. devouring her whole being. The interior convulsion of the character in Patterns is represented by a ‘war’ . Wars excessively are conceptualised as forms through its cyclical nature in which work forces adamantly partake it. The word ‘war’ generates negative intensions of decease. natural hurting and bloodiness which create a dark and baleful undertone to the verse form. and to boot foregrounding the soundless conflict for freedom. The statement of ‘weep [ ing ] ’ reveals a feature of adult females as an emotional being and high spots the emotional consequence of exploitation.

However Coleridge and Lowell no longer want to keep the subjugation of adult females and show their purposes of bring outing the private face. evident in the alteration of point of view in both texts. The 4th stanza of The Other Side of the Mirror takes a somewhat different stance than the old stanzas. Whereas the old are concerned with the woman’s hurts and her feelings of suffering. this stanza starts with the description of her eyes as ‘lurid’ which suggests an air of force and power. prompted by her ‘dying… hopes’ .

The kinetic imagination of ‘the jumping fire’ farther enhances the choler and deepness of her feelings. Lowell’s Patterns. on the other manus. uncover how the character has taken on a more dominant function apparent in the usage of anaphoras of ‘I would’ and ‘I should’ which encompasses an about imperative quality. Just like the concluding line ‘Christ! What are forms for? ’ inquiries the happening of forms in a hard-pressed and annoyed tone Coleridge excessively uses an emphatic tone in ‘O set the crystal surface free! ’ which is implicative of the urgency to allow the true ego emerge. Not merely do these poets challenge the patriarchal value. but the conventional authorship manner of adult females.

The mirror. the typical Victorian image of muliebrity was used by many male poets to exemplify a serene. beautiful. virgin image of the female. In The Other Side of the Mirror. alternatively of the mirror reflecting the expected image of pure beauty. it reflects the image of a ‘woman wild’ .

This unexpected and unconventional use of the mirror symbolism makes the image of wild despair all the more powerful in its rescue.


Poem “The Other Side of the Mirror” by Mary Elizabeth Coleridge. and Poem “Patterns” by Amy Lowell

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