Jane Austen and Mary Wollstonecraft were seemingly writers with two distinctly different styles of writing who created a furor with their controversial styles of presentation. Though each wrote in different ways they were similar in conceptions of theme. Both Feminist writers, Austen and Wollstonecraft underlined the constrictions placed on women in society and the oppression they faced as their individuality was objectified in terms of beauty and societal class.
Consider that critics of Austen's stories contend that she gained popularity not because she offered escape through her fictitious depictions but rather because her protagonists were so "realistic" and presented in real terms the restrictive social conditions in which people, especially women, have had to live. Austen's stories are then based on strong women who struggle with the expectations society places on their actions. Though they may not always prove successful the strength is shown through the attempt rather than the final result. However, she did not openly oppose society. She created fiction that on the surface approved society and its 'values' and yet, all the while her characters rebelled in small ways that seemed inconsequential.
Mary Wollstonecraft, a contemporary of Austen's wrote "A Vindication Of the rights of women" when Austen was twenty-one. Wollstonecraft's writing is a direct contrast to Austen's subtlety. Wollstonecraft was educated in philosophy and held a great insight to the European Enlightenment...
Jane Austen's Emma Jane Austen's Gentleman Ideal in Emma In her third novel, Jane Austen created a flawed but sympathetic heroine in the young Emma Woodhouse. Widely considered her finest work, Austen's Emma once again deals with social mores, particularly those dealing with ethical actions and social status. This paper focuses on how Austen uses the figure of George Knightley to propose a new English Gentleman Ideal to criticize the strictures regarding the
Her blooming full-pulsed youth stood there in a moral imprisonment which made itself one with the chill, colorless, narrowed landscape, with the shrunken furniture, the never-read books, and the ghostly stag in a pale fantastic world that seemed to be vanishing from the daylight. (Eliot, XXVIII) However it is worth noting the implicit paradox expressed here in the notion of a married woman's "oppressive liberty." Dorothea Brooke marries sufficiently well
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