This defies the idea of the weak and helpless female and demonstrates Fantomina’s unrelenting courage in her pursuit of Beauplaisir. That is, Fantomina confuses love for something else which, in my reading, comes as lust. It is only “in the person of another, and a supposed prostitute” (NA 2740) at that, that she can “have her wishes answered” (NA 2741).
Because she knows his intimate desires she is able to continuously have the upper hand, and I feel has an agency that many females are not granted in the literature we have read so far. He ignores the fact that she has said she does not want to show him her face, just as he previously ignored Fantomina saying she did not want to have sex with him. He is one of the Doctors of the Church, which is a title of honor of saints who have achieved great works towards the Catholic church.
The young lady covers her head with her bedclothes in shame and explains all. Here, it is very obvious that the mysterious woman has summoned him for her own sexual gratification and is controlling the situation. Thus from her four different exchanges with Beauplaisir being at first quite confused at her liberation to willingly explore how far she can take it thus seducing with new personas once Beauplaisir was tired of the old one. No matter what she does she will be the one at fault, and the naming aspect Haywood utilizes demonstrates how this story is not specific to any one woman, but to all.The maze is the elaborate costumes and personas that the protagonist adopts in her pursuit of Beauplasir. They participate in this dance of love where she keeps following and manipulating him into sexual relations with her, meanwhile he thinks he is the one who has the power in these relationships he is starting with all these different identities. (2745) Yet later this very page and aware of his inconstancy, she’s decided that she will follow Beausplaisir to Bath with a new seduction plot, with no apparent reason for why she no longer accepts his loss. In other words, a women’s identity is built upon social status and class, as they only exist for the fine pleasures of men (hence, Beauplaisir’s name), thus, no independent identity that they created based on their own feelings and opinions. No death, no reformation, not even an affirmation of marriage or “realism” at the expense of her fantasy.The Stone and the Shell (Ted Underwood's blog)So what seemed to me really provocative, felt pretty flat in the room. The lady drags Beauplaisir into her daughter’s bedroom, where she has just delivered a baby daughter and demands explanation. By contrast, Fantomina goes off stage, B never sees the “new-born Lady” again, and the mother arranges a convenient exit for her daughter that to me seems quite … It is proto-feminist as well in its acceptance of Fantomina’s sexual drive and pokes fun at Beauplaisir’s inability to differentiate between each of her disguises. So she must make him love her, if not as a prostitute than perhaps as a maid; if not as a maid then perhaps as a widow, and if not as a widow then perhaps as a masked, mysterious woman in a big house. She is introduced to us as “A young Lady of distinguished Birth, Beauty, Wit, and Spirit,” Haywood mentions nothing about her status in society, nor gives us anymore details than those features noted. She hopes to continue to enjoy the sexual aspect of their relationship while being pragmatic about his failings. Not just sexually but also her delight as being the more powerful one within this relationship.I think that the subtitle of Haywood’s “Fantomina” corresponds to Fantomina’s mind. Even before presenting herself under the guise of Fantomina, our protagonist is referred to as “Lady Such-a-one” with acknowledgement that in her mind she had actually said her own name. So love gets confused because it is in this mess of identities and secrets and it can’t separate the individual components from eachother. By using a second disguise, the heroine decides to continue with her act of seduction through masquerade. — He answered her in Terms perfectly polite; but made no Offer of that which, perhaps, she expected, though I could not, now inform’d of her Daughter’s Proceedings, demand. Each time Fantomina forges a new identity, she turns down an avenue with hope to find Beaupleasir’s fidelity and love for her… but every turn, every disguise, leads her down another false path that leads to Beau’s shadiness. Would you say that the story of Fantomina is another form of Burlesque as in Pope’s “The Rape of the Lock”?The first ten pages of the narrative are strict prose. (This passage is quite confusing because Haywood refers both to mother and daughter as “she”. Fantomina, first published in 1724, is a romance novella by English writer and actress Eliza Haywood. When I was reading this phrase, I knew that she appreciated her chastity, and I payed attention closely to the word ‘discernment’, because this word is often used by women who are discerning the religious life: to be a nun. Perhaps all this is too obvious to need reiteration. The lady drags Beauplaisir into her daughter’s bedroom, where she has just delivered a baby daughter and demands explanation.
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