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Anne Brontë: Nightwalker

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Gea Haff

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“It was somehow fitting that the true beginning and the end of a life occurred in the same sacred house. Anne would have praised God and Emily would have laughed. On this day, their presence was fully with me, and I am sure that Charlotte—now kissing the man she loved despite everything the world had thrown at her—felt the same twined souls invisibly at her side.”

Emily BronteCharlotte BronteAnne BronteBrontes
Book:The Misses Brontë's Establishment
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“[Talking about Rosalind in As You Like It] She disguises herself as a boy, drops all the covering inhibitions of "femininity", and really searches for her true self (...) Her disguise gives her the ability to find out about herself, what she really thinks and feels (...). And she can do all this freely, without having anyone in power tell her how women should or should not behave.(...)”

WomenFeminismWomen In Shakespeare S Plays
Book:Women of Will: Following the Feminine in Shakespeare's Plays
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“[Shakespeare realized that] Women are able to understand themselves better on a personal level and survive in the world if they dress in men's clothing, thus living underground, safe (...). The presence of women disguising themselves as men dictates that the play be a comedy; women remaining in their frocks, a tragedy. In four great tragedies -Julius Caesar, Hamlet, Othello, and King Lear- almost all the women die (...). How much the women have to adhere to the rules and regulations of their enviroment makes a large difference. Once Rosalind [disguised as a man in As You Like It] has run away from the court, she has no institutional structures to deal with. Ophelia [in her frocks] is surrounded tightly by institutional structures of family, court, and politics; only by going mad can be get out of it all.”

WomenFeminismWomen In Shakespeare S Plays
Book:Women of Will: Following the Feminine in Shakespeare's Plays
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“[Talking about Othello] His dying words are about the service he has done to the state -not what he has done to Desdemona. (...) He acknowledges not love but the power structure (...). Othello believes his fellow officer [Iago] rather than his wife, believes death is suitable punishment for infidelity (...). It makes me uneasy that we so easily state that Othello is a play about race. Race is one of its ingredients, but the most pervasive subject that Shakespeare is tackling is sexism. The two women [Desdemona and Emilia, Iago's wife] end up dead. Bianca, the third woman in the play, Cassio's mistress, ends up in jail for something she never did, and nobody bothers to get her out. Iago, the symbol of evil, remains alive. Brabantio, Desdemona's father, dies of a broken heart because of his daughter's disobedience. And everyone is very regretful about what has happened. But no one, other than Emilia, has pointed out that there is a terrible double standard, something rotten in the system itself.”

WomenFeminismWomen In Shakespeare S Plays
Book:Women of Will: Following the Feminine in Shakespeare's Plays
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“[Talking about ancient Greece](...) the great institutions (...) were created by older males who then trained younger males. They all had a strong homoerotic element. (...) This thereby increased the "rightness" of masculinity, never mind that half the world was feminine. That other half was also interested in philosophy, the arts, the law, religion, and athletics, but they had this other task -bringing children to term and nurturing them through the early years of their lives. And doing it again and again. Not that this gave status to women. On the contrary, the man's seed made the child. A woman was simply the receptacle provided by nature to carry the child until it was ready to come out. (...)”

WomenFeminismWomen In Shakespeare S Plays
Book:Women of Will: Following the Feminine in Shakespeare's Plays
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“He [Hamlet] sees ghosts and listens to dreams. And when his ghost father tells him that he (Hamlet Senior) was killed by his brother and asks Hamlet Junior to avenge his death, in the right, honorable way, Hamlet says yes, yes, yes, he'll do it. But somehow he never gets round to it. Not like the other two young men in the play. The Norwegian Prince Fortinbras(...) has made his life [!!] pursuing the honor that his father lost when Hamlet Senior beat him in single combat. (...). When the lord chamberlain,Polonius, is killed, his son, Laertes, returns to the court immediately, demanding restitution, (...). So there is no shortage of examples of how young men are expected to and do act in this world where honor demands an eye for an eye, a tooth for a tooth, a life for a life. But Hamlet doesn't do it. Instead, he beats up on his girlfriend and he's cruel to his mother.”

WomenFeminismWomen In Shakespeare S PlaysHonor And Men
Book:Women of Will: Following the Feminine in Shakespeare's Plays
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“Vier Tage lang, bis zum 3. Februar, befand sich der Nautilus im Meer von Oman, mit verschiedener Schnelligkeit und in verschiedener Tiefe. Es schien, als fahre er aufs Geratewohl, als habe er über die Fahrt geschwankt; doch kam er nicht über den Wendekreis des Krebses hinaus. Indem wir dieses Meer verließen, bekamen wir einen Augenblick Mascat zu sehen, die bedeutendste Stadt im Land Oman. Ich bewunderte ihr seltsames Aussehen, mitten in einer Umgebung schwarzer Felsen weiße Häuser und Festungswerke in grellem Abstich. Ich sah die runden Kuppeln ihrer Moscheen mit den schlanken Spitzen ihrer Minarette, ihren Terrassen in frischem Grün. Aber es war nur ein Gesicht meiner Phantasie, denn der Nautilus tauchte bald unter die dunkeln Wellen dieser Gegenden.”

FantasieOmanLandschaftAbenteuerArabienMinaretteMoscheenUnter See
Book:Zwanzigtausend Meilen unter dem Meer Band 2
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