How Does The Play Challenge Or Essay Example

home to cook, care for the children, and answer to their husband. Clive confirms to this role as the 'breadwinner' with his quote "Long ride in the bush" (To Betty, page 2), emphasizing his independence and dominance as a male character.

"Betty, you know what to do" - this statement made by Clive when guests visit, is a clear indication of Betty's role as a housewife and how she conforms to traditional gender stereotypes. The fact that Betty is portrayed by a male actor further emphasizes this, suggesting that she desires to conform to male ideals and lacks self-value as a woman. The portrayal of Betty as a man's creation, in accordance with Christian beliefs, only adds to the reinforcing of traditional roles. The quotes throughout the scene serve to highlight Betty's dependency on Clive and her adherence to the stereotypical gender roles expected of women.

"I was anticipating your arrival as the day feels prolonged in your absence." (Page2) "I long for your presence when you are away. Our purpose in this country does not involve leisure, rather my way of contributing is through absence of social interactions." (Page 4) "Clive serves as my company."

According to Rousseau and Wollstonecraft, the quotes mentioned in page 9 reveal the woman's lack of independence and her compliance with societal norms. Her admission of having read only a little further emphasizes her limited education as a woman, which is linked to her lack of independence. Her preference for poetry also reflects the prevalent belief that it was a light-hearted and easy material that women could comprehend easily.

According to the given statement, women were only supposed to receive education in

being a good wife and exhibit qualities such as affection towards their gender, modesty, and domesticity. Betty's character supports this idea as she performs motherly duties for her children and Clive.

The act of singing lullabies on page 13 and the expression of concern for Clive's foot on page 2 illustrate Betty's stereotypical "motherly" traits and emotional characteristics as a woman. Singing lullabies was a common expectation for mothers at the time, while the exaggerated reaction to Clive's injury suggests Betty may be overly worried.

The statement acknowledges that a woman conforming to the stereotype of being nurturing was expected during the period. Clive and Betty conforming to these stereotypes can be summarized by the quote "a history of repeated injuries and usurpations on the part of man toward woman."

He has taken control of almost all lucrative jobs and is preventing her from accessing any opportunities for economic and social success.

He has refused to provide the means for her to receive a comprehensive education.

According to the 1848 Seneca Falls convention, he has made every effort to destroy her self-confidence, diminish her self-respect, and induce her to lead a life of dependence and subservience. The use of the capital 'H' suggests a patriarchal society that is firmly established, which may explain the characters' behavior. Clive reinforces this patriarchal system by pardoning Harry for his infidelity with Betty, while he himself has a mistress named Mrs. Saunders, and blaming Betty's sexual weakness on her gender.

Using Mrs. Saunders as a sexual object confirms Clive's weakness in that regard. This denigrates sexually aware women to the level of being deserving of male abuse, as they are metaphorically referred to as

"slags." It is clear that double standards are at play here.

Clive and Betty's actions align with the gender stereotypes discussed in the referenced essay. Their efforts to control Edward's upbringing reinforce traditional masculine norms. Clive states, "My son is young. I'm doing all I can to teach him to grow up to be a man," while Edward struggles to meet his father's expectations, saying, "What father wants I'd dearly like to be. I find it rather hard as you can see."

The representation of Edward as a female character reinforces his statement. It suggests that he breaks the convention of portraying a typical male protagonist. Although, his character appears to contradict itself as seen in the contrast between the initial and final scenes depicted. Betty mentions that the doll belongs to Victoria.

Edward is asked by Betty what he's doing with a doll, to which he responds that he's "Minding her". This quote suggests that Edward has a more nurturing personality, which challenges traditional male stereotypes. Betty takes the doll from him and gives it to Ellen, as she believes that boys shouldn't play with dolls and Edward isn't following traditional societal norms.

Therefore, in order to demonstrate her adherence to her cultural traditions and reinforce the notion of women as caregivers in a maternal sense, the character gives Ellen a doll. Additionally, the portrayal of Edward engaging in a homosexual relationship with Harry challenges traditional male stereotypes, as such relationships were considered taboo during the Victorian era. Clive also reinforces this gender division by offering to take Edward horseback riding, which is associated with a more traditionally masculine nature. However, in the third scene, Edward

conforms to his traditional masculine stereotype by demanding that Joshua retrieve the blue thread.

According to Edward on page 35, he demands that the sewing be fetched immediately and asserts his controlling and dominant nature through his language. This mirrors Clive's behavior, suggesting he conforms to his father's expectations. The role of Victoria is portrayed by a dummy in a dress, symbolizing the traditional and passive female ideal that aligns with her father's beliefs and dress style conventions. Harry ultimately embraces the heterosexual stereotype rather than being homosexual, conforming to societal expectations. The play utilizes dramatic methods, such as language, to illustrate gender stereotypes.

Within the play, the characters' utterances illustrate conformist gender roles; for example, when Mrs Saunders begins to speak, Clive interrupts her. This interaction indicates Clive's dominance over Mrs Saunders and his submission to male superiority. The first act's strict structure also reinforces the idea that characters comply with gender stereotypes.

The second act takes place in 1979 London, during a time of changing sexual attitudes. The characters, however, feel as though only twenty-five years have elapsed since Act One. It is in this act that we see the patriarchal system being challenged and dismantled.

Through their interaction with Lin and Gerry, Edward, Betty, and Victoria have all undergone transformations from their rigid positions in the first act. The second act of the play is characterized by elements of feminism, resulting in a less authoritarian atmosphere. This sense of uncertainty and change is mirrored in the more relaxed tone of the act. Significantly, Betty is now portrayed by a female actor, which indicates her adherence to her own feminine values and the importance she

places on valuing herself as a woman. This independence is exemplified through her conversation with her mother.

Maud warns Betty to learn from Mrs Saunders and not be unprotected. Betty argues that she has a job and earns money, challenging traditional gender stereotypes. Betty is no longer confined to the roles of a housewife or mother and is not dependent on Clive. This exemplifies that gender stereotypes are no longer the standard in society. Clive ultimately acknowledges Betty's non-conformity to traditional gender roles and states, "You are not that sort of woman, Betty."

It is hard to fathom that you are the same person. My feelings towards you are not the same as before. It seems as though Africa is heading towards a communist regime. Previously, I took great pride in being British.

The statement "There was a high ideal" reflects Betty's successful challenge of societal norms and stereotypes. Clive's use of the past tense, specifically "used to be," suggests that he views these newly embraced values as unfavorable, likely due to the dismantling of patriarchal structures. In Act One, Betty sheds her former self and embraces her newfound independence. Her embrace with herself symbolizes her liberation from Clive, resulting in the loss of his authority.

Lin defies old traditions of female behavior by being a divorced, lesbian woman who does not wear dresses. She also embraces new attitudes towards gender socialization, as evidenced by her desire for her daughter to receive education. Lin hopes that her child will break the stereotype of becoming a housewife and instead become an educated woman. The character Cathy further challenges these old stereotypes by being played by a boy and being portrayed

as a tomboy who enjoys drawing spacemen and violence. All of these elements symbolize a shift away from traditional feminine norms.

Both Martin and Edward challenge traditional masculine stereotypes by taking on more traditionally 'feminine' roles. Martin washes up and babysits while expressing support for The Women's Liberation Act. He lets Victoria explore lesbianism. Similarly, Edward is open about his sexuality and takes on domestic duties, waiting for his partner to come home like a traditional 'wife' figure.

The portrayal of the character now played by a man highlights his authenticity. Bisexuality is showcased through his sexual relationships with Lin and Victoria, as he identifies himself as a 'lesbian'. This unconventional view of heterosexual relationships goes against traditional norms. Despite this, Gerry adheres to stereotypical gender roles by engaging in 'macho' behaviors such as drinking at the pub and returning home late.

One reason for Victoria's departure from traditional female norms may be her birthplace in England, which could have led to her adaptation to the norms of the time. Victoria challenges these norms by refusing to be subordinate to men. She even apologizes for not being more submissive. She asserts her intelligence and brilliance, ultimately leaving Martin and exercising her independence by becoming romantically involved with Lin as a lesbian.

Victoria believes that lesbianism provides women with knowledge and power beyond just being a sexual preference. She expresses this idea through quotes such as "The priestess chose a lover for a year and he was king because she chose him and then he was killed at the end of the year," and "And the women had the children and nobody knew it was done by fucking

so they didn't know about their fathers and nobody cared who the father was and the property was passed down through the maternal line." By highlighting women's power and challenging traditional gender roles, Victoria aims to deconstruct the concept of patriarchy.

Victoria highlights the power of intelligence by stating that comprehension of theoretical background is beneficial, and that economics and sexual activity cannot be separated. This suggests that women have evolved and are challenging traditions due to their education. It can be observed that women conformed to their traditional roles during the Victorian era and colonialism as they did not possess women's rights and had to conform to societal expectations. Similarly, men adhered to their respective roles for the same reason. However, in the second act, all characters, particularly women, challenged these norms.

The play's characters' actions reflected changing social norms and values due to historic events, such as suffrage and women's liberation movements, equal pay and property ownership acts, and sex discrimination acts. These events encouraged challenging traditional traditions to be accepted into new ones. In the second act, the characters confirmed to new British values, such as women in employment, while also challenging them by exploring lesbianism. Overall, the play confirms conventional gender stereotypes in the first act and challenges them in the second act, answering the essay question.