women as victims in a patriarchal society


Women perspective can be described as critical aspect that has been constantly neglected during cultures due to the prevalence from the patriarchy. This has meant that literary works itself manifests as a men institution, designed by gents minds and voices who also view the woman experience as trivial and unworthy of consideration. Consequently , being unable to exhibit their own viewpoints and discriminated against inside their writings, women are a marginalized group. However in their portrayal, are they really victims of any patriarchal contemporary society? Certainly Sylvia Plath’s Dad (1962) paints a despairing picture of suppression and inner concern, a woman powered mad by the men in her lifestyle ” though is this the case? Pertaining to Ania Walwicz challenges this concept of a helpless damsel in distress by subverting the conventional fairytale in Little Reddish colored Riding Engine (1982), therefore undermining masculine values about women and all their sexuality.

Throughout the examination of both of these texts, the extent of women’s victimization by a patriarchal society can be discovered.

Written inside the early 60’s, the pre-era of the feminist movement, Sylvia Plath’s Daddy reflects the increasing atmosphere of feminist awareness ” a tough critique of patriarchal power and ladies relegation to passive jobs. The persona is of a great angry girl trying to come to terms with the betrayal of guys in her life; events that parallel Plath’s individual strained marriage with her father and her failed marriage. Therefore, the composition is filled with Fascista and Medieval imagery to emphasise the victimization that the narrator feels at the hands of these men (“fascist, “Luftwaffe, “devil, “vampire).

Simply by constantly evaluating her and her father with a Jew and Nazi respectively, the narrator menacingly enforces the dictatorship of her father over her, almost into a sense exactly where her identification as a person has been dominated and annihilated like the genocide of the Jews in the hands of Hitler ” “Chuffing me off like a Jew/ A Jew to Dachau, Auschwitz, Belsen ¦ I have always been scared of you/ With your Aryan vision.  There is no doubt that the narrator is a patient for since the poem progresses, the father changes in to increasingly more horrific and strong creatures of evil to show how omnipresent and non stop her trauma over her now lifeless father has manifested ” even her husband is definitely described as the second reincarnated vampire of him, “The vampire who stated he was you.  In this way, it is fitted that theprotagonist is described as the two a child and a wife, that is, women of inferior position and always within the social control of men.

Yet, at the same time, the girl in Walwicz’s Little Red Riding Engine is also a daughter, yet she does not exhibit the frustration and oppression from the narrator in Daddy. This might be due to the difference in situations of the poetry ” the later Tiny Red Driving Hood was written in the 80’s, at the conclusion of the feminist movement, exactly where feminists requirements for the same opportunity were increasingly approved and there were a fictional shift to postmodernism, the questioning in the absolutes. Certainly, Little Crimson Riding Bonnet reflects this through its subversion in the traditional same-titled story.

Whereas the original intention of Charles Perrault’s fairytale was to advise girls about promiscuity, this poem verso it by simply portraying a woman’s sexuality as publishing not restrictive. The replication in “a good period, good period, good period girl performs a word pun on the unoriginal “good girl so to emphasize the difference with this Little Red Riding Cover who celebrates her very own sex while an leaving you article. This can be done through the motif of red inside the poem, colour of personal strength and passion which also takes in attention (“I was so red, thus red, thus red) about show her daring nature which she is in charge. In essence, the woman in Small Red Operating Hood is a reciprocal from the standard socialized female ” far from being the victim, the girl with her own savior.

Yet can the difference in context bear the only blame for the poems’ different representations with their women ” one emerging as victor, the other as sufferer? Though they are often significant impact on, the inclination is bad for the patriarchal world and the social superiority of men happen to be clearly recognized in both equally poems. The voice of “Little Reddish colored Riding Hood uses short, simple and often repetitive paragraphs to suggest a little young lady speaking, and the nursery rhyme-like structure of Daddy as well as infantile selection of words, just like “Achoo, shows the adult narrator while childish. In this sense, they may be represented because girls, certainly not women, to convey their reduced status inside the prevailing patriarchal societies of both poems. Hence, the patriarchy cannot be ultimately in charge of the victimization of women if perhaps, in two poems collection against a patriarchal backdrop, only oneportrays women while victims.

The response, however , lies in how the ladies respond to the patriarchy and their sexually-biased oppression. In Dad, its nursery-rhyme structure, similar technique used to introduce the idea of the patriarchy, also reephasizes the tragic naivety of the narrator and her status as a sufferer ” she’s haunted simply by her the child years and cannot move on, which can be epitomized in how she stills calls her father “Daddy. However , inside the Little Crimson Riding Bonnet, the simple childishly short paragraphs, that add a lesser status, becomes simply a guise of girly chasteness with a invisible motive ” to prey on men and give her the upper hand. “Want a lot of sweeties, mister?  allures unsuspecting males to her as well as the world range of “mister is definitely ironic since it is the girl, certainly not the wolf, who retains the real electric power for she actually is the one whom “brought a knife.  Therefore , in contrast to the patient protagonist in Daddy, the woman in Tiny Red Operating Hood is somewhat more of a perpetrator, demonstrated by knife which can be an put into practice of action and a symbol of freedom.

Therefore the simple component of the leading part in Small Red Operating Hood acquiring an active stand, taking control of her own life, critically distinguishes her final result from the narrator in Dad. Assertiveness paves way for the independence that is certainly conveyed in Little Reddish colored Riding Engine through the use of rhetorical questions. The narrator takes control by using her own motivation to ask “Want some sweeties, mister?  and overturns the interpersonal construct of females getting submissive, demanding the patriarchy. First person narration moreover helps to ensure that Little Reddish Riding Engine plays the active component in her own account so that she actually is not objectified.

Though “Daddy also uses first and second person, it will serve a different purpose to point out the narrator’s victimization. For the, “You do not do, you do not do directly accuses the reader of mistreating her and is also similar to a self-help mantra by which she appreciates her passivity and victimization in her trying to defeat it. So , in this impression, the narrator in Dad cannot be totally labeled as a self-pitying patient for the girl does make an effort to conquer her victim position. However , unlike the Walwicz’s Little Crimson Riding Hood, the actions of Daddy’s protagonist indicate the impact of the guys in her lives, and therefore are not necessarily away of her own personal can.

Therefore the self-destructive actions in the narrator in Daddy make her a great accomplice in her very own misery. In her infatuation with reviving her father who failed her by simply dying in his peak in wonder (“You passed away before I had formed time/ Marble-heavy, a carrier full of God), she seamlessly puts together “a type of you, consequently perpetuating the cycle of victimization the poem features detailed. For her father hasn’t inflicted any kind of physical trouble for her, as it is merely the very fact that she actually is unable to release his death that keeps in her limbo of torment. This is presented through her childish calling him “Daddy and the regular repetition of “You, discussing her daddy, which demonstrates she cannot stop thinking of him. Indeed such duplication of “You and similar sounding words like “Jew and “through creates a mournful quality towards the poem. Her self-destructive actions are exemplified in her suicide attempt (“At twenty My spouse and i tried to die) which literally demonstrates she is getting rid of herself.

In not being able to create a clear sense of personality, the narrator in Daddy fails to grasp her interior voice. This kind of absence is conveyed in the overwhelming concept of the fragmentation within the poem, which usually echoes the mental illnesses that Sylvia Plath was plagued with during her life. In “black shoe/ In which I possess lived just like a foot, the narrator identifies herself like a “foot, demonstrating that she is unfinished and continues to be deprived in the lack of liberty of living inside the crowded “shoe. Her broken stuttering of “Ich, ich, ich, ich/ I really could hardly speak along with the poem’s ambiguous finishing demonstrates her failure to look for her womanly voice between the oppression in the men. Pertaining to “Daddy, dad, you hooligan, I’m through is ominous in its double entendre as “through can similarly imply stopping as well as endurance through difficulty. In fact , these seems appropriate as Plath committed committing suicide just weeks after writing this composition.

On the other hand, Very little Red Operating Hood is a clear method for the feminine tone. Though partage also features heavily, it is used to develop intensity with the sudden starts off and stops, to demonstrate the fervent vitality of the young lady ” “I was thus lively, and so livewire tight, such a highly pitched little.  This girl has her own view and is unafraid to voice it pertaining to Little Reddish colored Riding Hood’s last range is “I brought a knife pertaining to shock worth. The sentenceis short and swift to enforce the topic “I plus the knife symbolizes Little Reddish colored Riding Hood’s feminine voice for it may be used to metaphorically get rid of men, which usually brings flexibility, and is tightly linked with the red color from the girl’s engine ” red is the color of blood and empowerment, plus the knife is definitely the cause of the blood, hence personal strength too. And so by repeating “I brought a crimson dress myself, Little Reddish colored Riding Hood proudly exhibits this crimson garment for it is resistant that her feminine tone of voice (disguised since her knife) is alive and thriving.

In conclusion, girls are not always the subjects of the patriarchal society. Absolutely change in the lifted the social constraints of women, because evident in the poems, but it can be ultimately the woman reaction to this sort of barriers that determine if the girl shall conquer or become conquered because of it. So females fall not really victims to a patriarchal culture, if they become victims by any means, but instead they victimize themselves in taking on the suffering made by the patriarchy.


Master, Kim. Females Writers with the English Renaissance. New York: Twayne, 1996.

Sylvia Plath: Approach & Madness (A Biography) (2004, Schaffner Press, 2Rev Ed) simply by Edward Butscher


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