Agreeing with Kate Webb’s Assessment of Wise Children

London's East End, where Dora and Nora reside. The war also led to an increase in women's importance and culminated in granting women the right to vote in 1918. The economic depression of the 1930s played a major role in triggering the Second World War, which inflicted significant damage on England and resulted in an influx of refugees from Nazi Germany and Communist Russia. The 1950s witnessed the emergence of the "teenager" culture and the development of Rock and Roll.

Britain started to receive immigrants from the Caribbean as it was still recovering from the War. This is evident in the development of Black characters in the novel. The backdrop for Wise Children is the increasing influence of American culture and the conservative Thatcher era in Britain. The division between social classes in Britain can be observed through the upper-class Hazard family and the working-class Chance family. The Chances live in poor Brixton, South London, while the Hazards reside in Central London and Sussex, creating a physical separation. The Chances work out of necessity, whereas the Hazards give the impression that they have a choice in their work. However, it is revealed that the Hazards also need to work and only gain wealth after Melchior marries Lady A. Before that, they were just as common as the Chances. This could indicate that class is determined by physical factors, as Melchior transitions from a jobbing actor to a husband of nobility, suggesting that anyone can move through the class system. Melchior remains the same person despite changing social status. However, it could also signify that class is a psychological divide.

Melchior is born to parents who work as

actors but sees himself as a prophet of Shakespeare. He does not possess the same working-class identity as the Chances and desires fame in the performing arts industry. Dora and Nora, on the other hand, do not let their social class define them. Despite this, their concern for the present is evident when they sell their childhood dollhouse to afford Tiff's nappies. In contrast, Melchior values his cardboard crown that is saved from the burning house more than Nora's rescue, showing his attachment to memories.

Despite coming from a similar poor social background, Dora and Nora possess distinct psychological differences compared to Melchior. These two women in the novel exhibit characteristics of both the upper and working classes. Grandma crudely questions, "What the fuck d'you mean?", yet she still exaggerates small matters, displaying an earthy Anglo-Saxon language that contradicts her assumed BBC-like gentility. Nevertheless, Grandma is capable of passing as upper class when desired, which reflects Carter's use of the "carnivalesque" to challenge societal norms and mock the class division in Britain. Lady A, who resides with Dora and Nora in their basement as Wheelchair, can also belong to the lower class. According to Kate Webb, when Lady A lives with them on Bard Road, she underwent a transformation, shedding her upper-class rigidity to become a profane and bold woman. She is far from the quiet or submissive character one might expect from a lady, instead displaying a fiercely protective nature for her family, which all women possess.

Carter also portrays Melchior's shift from the upper to lower classes in a tragic manner. Melchior, who is a member of "The Royal Family of the British Theatre", fathers

Dora and Nora in the attic with a chambermaid. Dora wonders if Melchior will participate in Tristram's game show due to his financial difficulties. This showcases Carter's depiction of a two-faced Britain with humor, highlighting the absurdity of a system where moving between social classes is determined by language and accent. Angela Carter carefully selected the names for the Hazard/Chance family. The names Hazard and Chance are not completely distinct from each other. Hazard originates from the old French word hasard, meaning a dice game called "haz". This implies an exotic origin, adding elegance to the family's name. "Hasard" translates to "die" and holds power over others in a game of dice. When pronounced, the two syllables in Hazard create a more refined sound. On the other hand, Chance derives from the old French word cheance, meaning "befall". This word implies being acted upon rather than exerting control over others, as seen with hasard.

The word "Chance" is perceived as belonging to a lower class due to its passivity, English sound, and single syllable. However, in English, both "hazard" and "chance" have the same meaning - luck. The distinction between these two words lies in the circumstances of their origin, specifically in terms of birth, which creates different class associations. Over the past 100 years since Wise Children's plot began, the meanings of "hazard" and "chance" have diverged. "Hazard" is now considered more fashionable than "chance", which is now more commonly used in everyday language. This contrast is also exemplified by the characters Perry and Melchior. Melchior achieves success in England through theater and his relationship with the aristocracy (Lady A), whereas Perry attains fame in

America through Hollywood and his oil business on his Texas ranch.

In the 17th century, the British nation and the English language became divided between the New World in America and the Old World in Britain. This division is portrayed through Perry, who goes to America, and Melchior, who stays in Britain. Their accents also differ, with Perry using an American accent and saying "shee-it". The purpose of this portrayal, as Carter wanted to show, is to demonstrate that the Hazards and Chances are actually one family, separated only by birth and circumstance. This is similar to the meaning behind the words "hazard" and "chance" themselves. Dora also recognizes a language problem between the two branches of the Hazard family, showing how the linguistics of the family reflect the division of British culture between America and Britain, as well as the division between the upper and lower classes in England. The connection between Shakespeare's cultural dominance and British imperialism is also noted, particularly in relation to Ranulph's attempt to conquer American theatre through touring Shakespeare plays and Melchior's attempt to conquer American cinema with The Dream. Ultimately, both characters are trying to reclaim America for King, God, and Shakespeare.

Nonetheless, Ranulph maintains the belief that Shakespeare's works encompass the entirety of human existence. Both Ranulph and Melchior share the standpoint expressed by Kate Webb above, perceiving Shakespeare as representative of the privileged social stratum of British society. However, if Ranulph also contends that Shakespeare not only portrays the upper classes but also the common people, then he must acknowledge that the working class can access and comprehend Shakespeare's works. This is evident through Dora's ability to readily

make references to Shakespeare. Carter justifies Dora's familiarity with Shakespeare by suggesting that she learned it from an Irish individual, but it is noteworthy that Dora is able to grasp Shakespeare's ideas even in the absence of formal education.

Shakespeare transcends social boundaries and is not limited to high-culture or exclusive to those who have studied it. Shakespeare wrote for everyone, including the cultured actors Ranulph and Melchior. While they may prefer characters like Lear and Hamlet, they should not overlook the significance of Shakespeare's lower-class characters, such as King Lear's Fool. In fact, the Fool often expresses profound truths that surpass those spoken by the King himself. Shakespeare's works are not only meant for the privileged courtiers, but also for the poor and working classes. Melchior and Ranulph may represent an elite class in the theater world, but they are not true aristocracy (with Melchior being the one who married into it).

It would be hypocritical to attempt to reserve Shakespeare exclusively for the elite, because those who represent it are not truly elite. Shakespeare is a symbol for Britain, just as Wise Children is. Comedy is tragedy that occurs to others. Dora embodies both comedy and tragedy. The reader may find amusement when a white dove defecates on the carpet at 69 Bard Road, but also feels sorrow when Dora describes the war. The purple flowers that quickly sprouted on the bomb sites, seemingly expressing that life goes on even in the midst of destruction, enhance this feeling. Carter's tone in this instance is melancholic yet hopeful, revealing that Dora adamantly refuses to participate in tragedy. Through Dora, we are able to witness the tragedy

present in her life and consequently in Britain. Indeed, this is a deeply melancholic notion, as Sarah Gamble suggested. Ultimately, happiness can only be attained through a deliberate act of will, whereby one filters in the positive aspects of life and deliberately disregards the negative. The Hazards also exemplify tragedy.

In Wise Children, the novel depicts both tragedy and comedy within the society. Ranulph's suicide and his killing of Estella along with Melchior's affection for Ranulph's cardboard crown surpassing his love for his own children demonstrate the presence of tragedy. Furthermore, there is humor found in Melchior's speech at the start of filming The Dream where his noticeable "package" in tights brings laughter. These contrasting elements of theater highlight how British society is capable of experiencing tragedy and using comedy to overcome it. Looking at the novel from a post-colonial standpoint, the existence of black characters like Tiff and Leroy is worth considering. Initially, Tiff is depicted as being driven insane during the game-show sequence and later being used solely for sexual purposes by Tristram. Leroy, on the other hand, represents a typical portrayal of a black former boxer. These characters can be interpreted as peripheral figures in a predominantly white narrative.

In regards to the storyline within the novel, it should not be said that the events occurring on the day when Tiff goes missing and is later discovered "dead" are less significant than the narrative surrounding Dora's life. At the start of Dora's past, there are no black characters present. However, as the novel progresses, black characters gradually make appearances, beginning with Brenda's affair which results in the birth of Tiff, who is the first

black individual in the family. The use of the capitalized "Black" highlights the importance placed on Tiff's presence. Based on the somewhat vague timeline, it can be assumed that Tiff is born in the late 50s or early 60s, a time when the Windrush generation migrated from the Caribbean to Britain, marking a major influx of black immigrants in the 20th century. This significant change in Britain's ethnic makeup is depicted in the novel.

After Tiff is born, Brenda marries Leroy: Despite having a minor role in the novel, Carter portrays Dora as respecting him due to his caring nature towards Brenda and Tiff. For instance, Leroy defends them by knocking out a photographer who tries to follow them. Leroy becomes one of the most likeable characters who may not have a major role in the story.
Carter depicts the integration of black people in both media and society. This includes the acceptance of black G.I.s as just regular G.I.s without anything unusual about them. Dora is portrayed by Carter as someone who has a very accepting attitude towards things that readers might find hard to accept. These include free love and Daisy Duck's almost brutal stealing of Melchior from Lady A. One aspect of this acceptance is that Dora does not perceive Brenda's affair as being with a black man. Instead, she sees Brenda as our beloved Brenda, whom we took care of when she had her bit of trouble and brought home our precious little Tiffany.

Dora mentions that the affair was with a black man, which is significant because Tiff is mixed-race, but she does not discuss the man's race beyond that. Carter does

not diminish Dora's instinctive loving attitude and acknowledges that the man being black is a simple fact. Carter portrays black people as being integrated into British society through their integration into the Chance family, and emphasizes that they are the future of Britain by highlighting the black twins. This demonstrates that black people are not only the future of England but also of the upper classes, considering that the twins are fathered by a Hazard. Carter's portrayal of a future black Hazard family represents a future Britain without any ambiguous intentions. When considering how women are presented as part of Britain, it is helpful to adopt a feminist perspective. Michele Roberts explains that Carter's feminist views go against traditional norms, asserting that if Carter resisted societal norms, she also rejected conventional feminist ideas and expectations.

She was a feminist who didn't conform to societal expectations, understanding that women are flawed and imperfect. She viewed de Sade's work in the context of contemporary perspectives on violence as a form of liberation. Furthermore, she openly expressed support for prostitution. A feminist analysis of Wise Children would acknowledge the female characters' descent into madness due to love, such as Dora's obsession with her mother. It is speculated that Dora might have been the first woman to become infatuated with Melchior. Dora's imagined scenario of pressing her cheek against a pillow, wishing it were her father's cheek, highlights her intense emotions for him despite it being a product of her imagination.

From a psychological perspective, it is possible that Dora transfers her unreciprocated love onto her mother, which allows her to justify such thoughts. Genghis Khan's first wife inflicts self-harm

to win over the man she desires, yet still disguises the evidence with makeup. Visible bruises can be seen beneath the Max Factor Pan Stick... How painful it must have been! Some feminists may disapprove of this portrayal as Carter presents a woman who self-destructs for a man who initially rejected her, deceiving him into marriage only to be used for sex and then abandoned. This could be interpreted as indicative of a patriarchal society where men hold power regardless of a woman's efforts; the extent of going through such lengths for a man. However, the feminist perspective may argue that Carter depicts women as proactive and men as passive, thereby appreciating the portrayal of the woman's agency. Women actively pursue men; perhaps Pretty Kitty chases after Melchior ("How did she do it?...".

In the novel, women are depicted as being active participants in their relationships with men. For example, Dora tricks Nora's boyfriend into sleeping with her and Genghis Khan's first wife tricks him into remarrying her. These women even go to extreme lengths for love, such as Genghis Khan's wife undergoing plastic surgery. They also leave their respective men before they can leave them. Despite some women obsessing over men, the novel portrays women who do not passively accept mistreatment from men. Carter's favorable depiction of women is reflected in the language she uses. For instance, when Dora talks about her mother going mad over Melchior, Carter uses gentle sounds and poses questions to the reader, which creates empathy for Pretty Kitty. This draws the reader in and garners sympathy for a character who acts for herself. Daisy Duck is another character who

challenges passive acceptance; although she did have malicious tendencies like stealing Melchior from Lady A, she was still admired for her assertiveness ("Not a shred of malice in her"). These feminist perspectives on women's actions in the novel align with Carter's overall views. By presenting various perspectives, Carter aims to make readers contemplate their own thoughts about the world we live in personally.

The two contrasting attitudes towards women depicted in the text demonstrate the divergent perspectives held towards a significant portion of Britain's population during the time period of the novel. Moreover, as these attitudes are portrayed through interactions with men, it also highlights two distinct viewpoints regarding men. Firstly, men serve as the main characters, displaying an interest solely in outward beauty and possessing a selfish nature that drives them to push women to madness and subsequently abandon them. This can be observed in the cases of Genghis Khan and Melchior, as well as Pretty Kitty. Conversely, men are depicted as passive, with women manipulating their innate fascination with superficial beauty. It is intriguing to note that both men and women are portrayed with dualistic traits, which can be interpreted as an aspect of feminist literature. In order for comedy to resonate with readers, they must be able to recognize these representations, thus showcasing the two sides of gender politics in Britain.

The content of this text highlights that gender politics has always been a part of British culture. This can be seen through various literary works dating back to mediaeval times, such as Chaucer's The Merchant's Tale. The novel Wise Children by Carter delves into the theme of gender politics through the power struggle

within the marriage of Lady A and Melchior. Their dynamic encompasses issues of dependence, financial support, and the choices made by Saskia and Imogen. The portrayal of gender politics in this story serves as a reflection of the wider British society. Carter's Wise Children serves as a microcosm for Britain as a whole, with its characters representing different facets of Britishness.

The family is characterized as "double-faced," similar to how Britain is depicted. Politics, respectability, and scandal are intertwined. Lady A manages to maintain her respectable image despite her husband's infidelity. Gender dynamics also have a dual nature - determining who is passive and who is active in male-female relationships. Language itself has a double-faced nature, wherein similar words carry different connotations. Carter believes that the complexity and mixture of British society and culture are crucial. Presenting the Hazard/Chance family or Britain without acknowledging their multifaceted nature would be an inaccurate portrayal.