Breaking Boundaries: Feminist Characters Across English Literary Ages
Table of contents
Personal Information
Assignment Details
Abstract
Keywords
Introduction
Historical Context
The Wife of Bath as a Feminist Icon
Rebel of Restoration Age - Helena
The Unconventional Emma Woodhouse
Sue Bridehead: The New Woman
Conclusion
References
Personal Information
Name - Bhumiba Gohil
Batch - M.A. Sem 1 (2023-2025)
Enrollment Number - 5108230016
Email Address - bhumibagohil333@gmail.com
Roll Number - 4
Assignment Details
Topic - Breaking Boundaries: Feminist Characters Across English Literary Ages
Paper - History of English Literature - From 1350 to 1900
Paper Number - 105
Subject Code - 22396
Submitted to - Smt. S.B. Gardi Department of English M.K.B.U.
Date of Submission - 1 December 2023
Abstract
This paper explores the evolution of feminist characters across various English literary ages. By analyzing representative works from different periods, it examines how female protagonists have challenged societal norms, stereotypes, and limitations imposed on women. The study delves into the empowering portrayal of these characters, highlighting their resilience, agency, and transformative impact within their respective historical and cultural contexts. Through a comparative analysis, this paper seeks to illuminate the continuity and progression of feminist ideologies, shedding light on the enduring relevance and evolution of feminist representation in English literature.
Keywords
Feminism, Wife of Bath, Sue Bridehead, Emma Woodhouse, Helena, The Rover, Literary Ages.
Introduction
In today’s world, we admire writers like Margaret Atwood and characters like Katniss Everdeen for their revolutionizing feminist ideas. However, Female characters have pushed the limits of conventional gender roles and questioned society conventions and expectations throughout the history of English literature. These literary heroines have cleared the path for a more complex and varied portrayal of women in literature. In this assignment, we will examine four such bold characters from four different ages of English Literature. We will see in detail The Wife of Bath from the Middle Ages, Aphra Bhen’s Helena, Rebel of the Romantic age Emma Woodhouse and The New Woman Sue Bridehead.
Historical Context
Before we begin the exploration of dynamic female characters, it is necessary to understand the time of their works. So here I will briefly discuss the four ages.
Age of Chaucer:
The age of Chaucer is considered to be a period of transition between the Middle Ages and the Renaissance. Chaucer lived during the latter part of the 14th century, a tumultuous time in England. The Hundred Years War with France was still raging and England experienced political upheaval, plague, and peasant rebellions. However, this was also a period of emerging commerce, growth of towns and cities, rise of vernacular literature, and early humanist ideas. Chaucer is best known for The Canterbury Tales, his collection of stories told by a group of pilgrims journeying to Canterbury cathedral. From this work, we find the first feminist character that we will examine. The Wife of Bath is one of the pilgrims and tells the story of a knight who has to find out what women truly want.
Restoration Age
The Restoration Age spans from 1660 to about 1688 and gets its name from the restoration of the monarchy when Charles II was restored to the throne after the collapse of the Puritan Commonwealth. This was a period of sweeping intellectual change as the monarch and patrons encouraged art, architecture, literature and scientific inquiry after the austere years of Puritan rule. As the theaters reopened after being closed during the English Interregnum, there was an explosion in literary output. In this age we find the first female professional writer Aphra Behn. Our second character is Helena from Behn’s play “The Rover”.
Romantic Age
The Romantic Age is usually taken to span the years from the 1770s to the 1830s. It was a period of political turmoil in Britain due to the ongoing Napoleonic Wars as well as profound shifts caused by the Industrial Revolution. As a reaction against the scientific rationalism and classicism of the Enlightenment, Romanticism celebrated a return to emotion, imagination, and spirituality in art and literature. The poets were drawn to the beauty and sublimity of nature as a means to access deeper truths about human existence. Major writers of this age include William Wordsworth, Samuel Taylor Coleridge, John Keats. Female Romantic writers like Dorothy Wordsworth, Mary Shelley, and Jane Austen also made significant contributions. In this assignment we will examine Jane Austen’s unconventional heroine Emma Woodhouse from the novel “Emma”.
Victorian Age
The Victorian Age in literature refers to the years 1837-1901 and covers the reign of Queen Victoria in England. This was a long period of prosperity for British society with growing economic development and political reform alongside rigid social norms. While the pre-Victorian writers brought realism, these writers infused it with sentimentality, estrangement and psychological depth in their works. Through their writing, Victorian authors explored social reforms and ideological upheavals in a rapidly changing society. Their collective contributions established widely influential aesthetic techniques for the modern realist novel. From this period, we shall examine Sue Bridehead, the bold character of Thomas Hardy. She is one of the protagonists in “Jude the Obscure”.
Now, let us begin the exploration of these characters.
(Albert)
The Wife of Bath as a Feminist Icon
The Wife of Bath, Alison, from Geoffrey Chaucer's The Canterbury Tales emerges as a feminist icon centuries ahead of her time. Some critics even consider her the first ever feminist character. Through her prologue and tale, Alison articulates and subverts the strict expectations imposed on medieval women in a male-dominated society. In many ways, Alison defies the archetypes that confined women in medieval times to subordinate, passive roles centered around marriage, childbearing and unwavering obedience to husbands. She recounts stories of her five marriages, using her sexuality to gain "sovereignty" over her husbands.
The Wife of Bath also challenges religious double standards that allowed men like King Solomon to have numerous wives, while viewing sexually-assertive women as wicked. With her interpretation of scripture framed through her personal experience, Alison questions why remarriage should be forbidden for women but permissible for men. This bold challenge to biblical authority would have shocked medieval society.
Through the tale she shares of an elderly hag magically restored to youth and beauty on condition that her knight husband grants her authority, the Wife of Bath imagines a world where women are no longer subject to men, but hold positions of dominance in marriage with the final say on decision-making. The old hag uses her supernatural powers to force the knight to understand female desire for "sovereignty" before she rewards him by becoming the ideal wife on her own terms.
While some critics view Alison’s manipulation of marriage for her own ends as anti-feminist, she challenged the assumption that women must be obedient, soft-spoken and sexually reticent in order to be respected. The Wife of Bath ultimately represents how resourceful medieval women had to maneuver within a system stacked against them to exert agency and independence. Through her disregard for rules governing femininity, the unforgettable character of the Wife of Bath in The Canterbury Tales emerges as a surprisingly modern champion of female empowerment and sexual freedom.
(Chaucer) (Aubry)Rebel of Restoration Age - Helena
Before we discuss Helena as a feminist character, we have to acknowledge her author, Aphra Behn. Aphra Behn is often regarded as an early feminist icon. In the 17th century, she defied societal norms by becoming one of the first English women to earn a living through writing. She challenged gender stereotypes in her works, advocating for women's rights and critiquing the societal constraints imposed on them. While the term "feminist" might not have existed in her era, Aphra Behn's advocacy for women's rights, her portrayal of complex female characters, and her defiance of societal norms undoubtedly contributed to the advancement of feminist ideals.
In her play, "The Rover" she depicted strong, independent female characters who asserted their desires and challenged traditional roles. One such character is Helena who challenges the notion of passive femininity and presents a woman who actively shapes her fate. Helena takes actions that challenge patriarchal norms and demonstrate female empowerment. She defiantly rejects the fate her brother has chosen for her (becoming a nun) and asserts her right to choose her own path, insisting on her independence. This shows her rebelling against male authority over her life.
She makes the most of the carnival atmosphere, where masks and costumes grant anonymity, to exercise freedoms not otherwise available to women. Her escapades exhibit adventurousness. She also takes an active role in pursuing a romance with Willmore, donning a disguise to meet him at the carnival. Rather than passively waiting to be courted, she goes after what she wants. She intelligently engages in witty repartee with Willmore, showing she is his intellectual equal. Their battle of wits displays her mental acuity. This demonstrates confidence and defiance of expectations for feminine behavior.
Helena seizes control over her own life, prioritizing her own desires above external pressures to conform to conventions for women. Her determination, outspokenness, and resistance to male dominance mark her as an early feminist protagonist.
(Behn) (Arifa)
The Unconventional Emma Woodhouse
At the time when Jane Austen was writing her novels, she wasn’t even allowed to claim them as her own. In those restrictive times Austen’s Emma Woodhouse, shines as a unique character who embodies both patriarchal and early feminist values. She represents a transition towards more progressive gender roles in society. Let us explore her character in detail.
Emma benefits from patriarchy due to her privileged social status, yet also defies conventions through her outspoken nature and decision not to marry. Due to her privilege, she has no reason to marry. She enjoys a certain kind of freedom that not every lady of her time could enjoy. In her own words she says: “Fortune I do not want; employment I do not want; consequence I do not want; I believe few married women are half as much mistress of their husband’s house as I am of Hartfield.”
At a time when education for women was often limited, Emma is well-read and intellectually curious. She values education and intellect, and she is not afraid to engage in discussions on a variety of topics. Emma's embrace of education is a sign of her desire for personal independence and intellectual fulfillment. She is not content to be a passive ornament; she wants to engage with the world and make her own mark. Emma advocates education for women, believing it leads to greater independence - a core tenet of Mary Wollstonecraft's feminist theory.
Unlike other female characters who marry for social or economic reasons, Emma eventually marries for love and companionship. Her relationship with Mr Knightley evolves from friendship into a more equitable marriage than was typical at the time. On top of that the decision to live at Emma's estate Hartfield after marrying, rather than conforming to the norm of women moving into their husband's home, further symbolizes the egalitarian nature of their relationship.
So while benefiting from patriarchal privilege, Emma also voices unconventional feminist perspectives on marriage and female independence for her era. Her transformation and relationship ideals represent Austen's subtle critique of gender inequality in Regency society.
Sue Bridehead: The New Woman
In Thomas Hardy’s Sue we find a highly educated and opinionated character that challenges the constraints placed upon women by society. She rejects the institution of marriage and questions conventional morality, advocating for personal freedom and autonomy. Her refusal to adhere to societal norms, especially concerning marriage, motherhood, and religion, makes her a striking representation of the changing ideals and values of the late 19th century.
Sue believes in gender equality. She opposes the view of unequal position between males and females, thinking that women should be able to choose partners freely like men can. She says she has "no fear of man" and can interact "almost as one of their own sex." Sue exhibits independent and free thinking. She holds unconventional opinions, often critiquing social institutions like religion, tradition, and morality from an intellectual perspective. Jude calls her a "perfect Voltairean" for opposing marriage as a sacred institution. Sue rejects traditional gender roles and the institution of marriage. She sees marriage as leading to total self-abnegation for the woman.
Though Sue ultimately succumbs to social pressures, for most of the novel she aspires to a liberated life based on following her own emotions and opinions without adherence to conventional rules. Her ending serves as a tragic comment on women's status in society. So while flawed and inconsistent, Sue resists and challenges gender inequality through her unconventional attitudes and outspoken defense of women's autonomy. This aligns closely with modern concepts of feminism.
(Hardy) (Shukla)
Conclusion
In traversing the literary landscapes, a vivid tapestry of feminist characters emerges across English literary ages. These women, from distinct epochs and narratives, collectively challenge societal norms, subvert gender expectations, and assert their agency in diverse ways.
The Wife of Bath, with her unapologetic boldness and autonomy, laid a foundational precedent for feminist characters. Helen's cunning wit and strategic maneuvers echoed a spirited resistance to societal norms through her autonomy and self-determination. Austen's Emma, although embedded in her privileged social sphere, exemplifies a subtle yet impactful portrayal of feminist undertones, showcasing autonomy in her decisions and an assertive stance in defining her life's trajectory. Finally, Sue Bridehead stands as a poignant embodiment of feminist ideals within the Victorian era, embodying a fervent desire for independence, intellectual equality, and a resistance against societal conventions.
These characters, each a product of her respective time, collectively illustrate a trajectory of feminist consciousness, showcasing a continuum of defiance against gender constraints. Their voices, though separated by centuries, converge in their resolute pursuit of self-determination, autonomy, and the assertion of agency.
Works Cited
Albert, Edward. The History of English Literature. Edited by J. A. Stone, Oxford University Press, 1979
Arifa, Rahman Ghani. “Negotiating Masculine Circles: Female Agency in Aphra Behn’s Work.” Rupkatha Journal on Interdisciplinary Studies in Humanities, vol. 12, no. 4, 2020, p. 9. https://rupkatha.com/V12/n4/v12n403.pdf.
Aubry, Timothy. Feminist Expression in the “Wife of Bath Prologue and Tale”. 2017, https://blogs.baruch.cuny.edu/eng4020/files/2017/05/Sample-Research-Paper-2.pdf.
Austen, Jane. Emma. Edited by James Kinsley and Terry Castle, Oxford University Press, 1995.
Behn, Aphra. The Rover. Edited by Marion Lomax, A & C Black, 1995.
Boseovska, Isabella. Emerging Feminism and Patriarchal Values in Austen’s Emma. 2022, https://www.diva-portal.org/smash/get/diva2:1691856/FULLTEXT02.
Chaucer, Geoffrey. The Canterbury tales. Edited by Jill Mann, Penguin Publishing Group, 2005.
Hardy, Thomas. Jude the obscure. Edited by Charles Hubert Sisson, Penguin Books, 1985.
Shukla, Shikha. “Hardy’s Sue Bridehead: The concept of New Woman.” International Journal of English Literature and Social Sciences, vol. 2, no. 5, 2017. https://media.neliti.com/media/publications/239231-hardys-sue-bridehead-the-concept-of-new-6d2ff46c.pdf#page12.
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