The Romantic writers of the late eighteen century and early nineteen century later called Romanticism writers borrowed their images and structure from the Christian religious cannon. This is because the Christian religion has influenced the western civilization and swallowed other rival religions (Northrop Frye 2009: 34). Furthermore, most of the Romantic writers that fall into this category are sons and daughters of the clergy and therefore influenced by the Christian religious dogma (Rosen 2006: 21). Jane Austen was the daughter of a clergy man hence her writings, (images and symbols) presents the structure of a world we understand within the Christian religious dogma. She projects the structure of the family in her works. The position held
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Irvine projects that Austen takes part in the cultural shift that assimilates and exults like religion a new autonomy for writing at a higher level
It is possible to see Austen as taking part in the cultural shifts that characterize her era and that were also acted out by the romantic poets. For example, their location of poetry in something like the place of religion makes a new claim for the autonomy of their writing from other less elevated types of writing, as ‘literature’ in a new, restricted sense. Austen too can be seen to be reaching for something like this high status for her own work (Irvine 2005: 28)
Austen, just like George Orwell describes a “God” as a persona that lives for all generation and never dies. They never make any attempt to place God outside of man, but their God controls affairs of mankind. For Orwell, God is in the picture of the “Big Brother who can never die.” (Frye 2006: 126). For Austen, God is manifested in man; in the roles man plays in the family …show more content…
The woman has no identity once she is married. She is considered as one and same with her husband and every property she owns is automatically transferred to the husband and he takes charge of her life. ‘In marriage, men were expected to rule over their wives, and all property (except in some cases property acquired by the woman before marriage) belonged to the husband. Men were the primary wage earners’ (Gender in the proceedings 1) the woman therefore has no legal rights or any right to challenge her husband on any decision taken by him. ‘The married woman was considered to have neither rights nor property due to the fact that with the marriage all her property exchanged automatically to her husband. The ideal of marriage in the 18th century’ (Wipprecht 2006) the man takes absolute control of the home front and deals with it as he pleases. She threats the subject of the father figure seriously in her work.
Austen’s depiction of family (home) circle is symbolic of the concept of infinity of the framework as a whole. In the realm of her symbolic representation, the home or the family is a symbol of the Garden of Eden or the lost paradise, the father figure a symbol of God, while the Son figure is a symbol of nature. The woman symbolizes mankind (Madaki 2014:
Irvine projects that Austen takes part in the cultural shift that assimilates and exults like religion a new autonomy for writing at a higher level
It is possible to see Austen as taking part in the cultural shifts that characterize her era and that were also acted out by the romantic poets. For example, their location of poetry in something like the place of religion makes a new claim for the autonomy of their writing from other less elevated types of writing, as ‘literature’ in a new, restricted sense. Austen too can be seen to be reaching for something like this high status for her own work (Irvine 2005: 28)
Austen, just like George Orwell describes a “God” as a persona that lives for all generation and never dies. They never make any attempt to place God outside of man, but their God controls affairs of mankind. For Orwell, God is in the picture of the “Big Brother who can never die.” (Frye 2006: 126). For Austen, God is manifested in man; in the roles man plays in the family …show more content…
The woman has no identity once she is married. She is considered as one and same with her husband and every property she owns is automatically transferred to the husband and he takes charge of her life. ‘In marriage, men were expected to rule over their wives, and all property (except in some cases property acquired by the woman before marriage) belonged to the husband. Men were the primary wage earners’ (Gender in the proceedings 1) the woman therefore has no legal rights or any right to challenge her husband on any decision taken by him. ‘The married woman was considered to have neither rights nor property due to the fact that with the marriage all her property exchanged automatically to her husband. The ideal of marriage in the 18th century’ (Wipprecht 2006) the man takes absolute control of the home front and deals with it as he pleases. She threats the subject of the father figure seriously in her work.
Austen’s depiction of family (home) circle is symbolic of the concept of infinity of the framework as a whole. In the realm of her symbolic representation, the home or the family is a symbol of the Garden of Eden or the lost paradise, the father figure a symbol of God, while the Son figure is a symbol of nature. The woman symbolizes mankind (Madaki 2014: