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AM e “dress... paint and nickname God's creatures' are surely fit only for a “ser Why, then, are they expected to 'govern a family with judgement or take e the poor babes whom they bring into the world: rheto! which she ends focuses sharply on the conflict between s women and its expectations of them. Look now at the sheet Language Annotations, Questions 2 and 3, which, coming from the head, never reach the heart. - 1 shall be 30 employed about things, not words! = and, ansious to xender my 2) members of society (shaDury to avold thar Pertonal has slided from essays into novels, and Box 11.2 LANGUAGE ANNOTATIONS, QUESTIONS 2and 3 ñ p simple unadorned truth; and a deluge of false sentiments and | confident; — overstretched feelings, stiling the natural emotions of the heart, f assertive render the domestic pleasures insipid, that ought to áweetep the | tone exercise of those severe duties, which educate a rational and 40 immortal being for a nobler field ofaction. des a A tit ido a Jr "The education of women has, of late, been more attended to than> ( tio oflate, been more 4 Read this passage carefully, then write about your response to it. You should consider: + what Mary Wollstonecraft is saying about the position of women in society; Le howshesaysit; — E «lolo electa dd elas fune aliento] h _ Ltormerlvi$ebthey are still reckoned a frivolous sex, and ridiculed or MiGÍA a £ 7 pitied by the writers who endeavour by satire or instruction to My cun sex lDhope, full cue me, tuvstill ci mnproye them. tis acknowledged that they spend many of the first des po, e em Bis atico vocative [cea stead of flattering their fascinaring graces, and view- sees the vears Of their lives in acquiring a smattering of accomplishments; and [os them as if they were in a state of perpetual childhood, unable Py, Incedfor — ncamwhile strength of body and mind are GacrificeDto MBerineT Dos engaging Lt0 stand aloneTeamestly wish oubin wha É more notionsofbeauty, tothe desire of establishing themselves, —the only — language way women can rise in the world, - by marriage. And this desire 2.9 making mere ánimal) of them, when they many they act as such EN Ss children may be expected to act: - they dress; they paint, and nick- name Gods creatures: - Surely these weak beings are only fitfora y q, 2.0, —— Geraglio')- Can they be expected to govern a family with judgement, — »hetorical. úortake care of the poor babes whom they bringinto the worl and sarcastic Source: Many WOLISTONECRAFT, A Vindication of the Rights/of Woman, 1792 * Seraglio: harem question engages the reader ish dependence, anddespis> Angthar weak elegancy of mind, exquisite sensibility, and sweet )idocility of manners, supposed to be the sexual characteristics of Ñ á with the. | the weaker vessel/T wish to showthat élegance is How does it end? In the discussion below, emboldened words represent the key features of her conclusion. Where has the essay taken us? Through what territories of the writers mind have we travelled? Itis her viewpoint. Where does she stand at the end? Summarise concisely the ground that we have covered in the essay. What are we left with at 2. /, “iject, the dictates of experience and reflection wil the end? Response is about feelings, so focus on these to0. Language. some ofañy readers Ánimated by this important ol The conclusion dealt with in the previous section suggests that the piece has i - . moved steadily towards a strong and challenging climax. Wollstonecraft starts of vitality Áisdaiz to cull my phrases or polish my style; Saad sincerity will render me unaffected; for) wishing rather to ¿, 25 d on a note of biting sarcasm, asking the forgiveness of her sex for treating them ersuade by theTorco/of my arguments than dazlo by the ele- self conscia “like rational creatures, instead of flattering their fascinating graces, and she is ol» amen defíant _ gance of my language, 1 shalldiot waste my fabricating the turgid bombas! direct and forceful throughout the piece, perhaps to ¡llustrate the fact that the women of her time are not allowed to be. 194 Mastering Practical Criticism. Practical críticism of prose (eighteenth-century) 195 engage the attention of most readers. Her language is challenging — sh “anxious to render [her] sex more respectable members of society) and itcox argued that she is presenting opinion as fact when she refuses to 'view | as if they were in a state of perpetual childhood! This technique will attract. readers attention, if only to criticise her lack of objectivity. She states e that she 'earnestly wishes] to point out' line 4) and 'to persuade women' (line 5 denoting a certain self-consciousness. She is aware of her own writing as. vehicle to express her ideas and persuade others, and this is in itself engaging, She is states openly that sheis 'dismissing' (line 12) the devices used by men y manipulate women into a certain position in society and that she wish(es] show (line 16) or prove her argument. We are aware of a woman with a m we are struck by her candour and we inevitably respond to this in some way. She shares with us herintentions: 'This is a rough sketch of my plan” (line 20 1 shall disdain to cull my phrases' line 23); 'L shall not waste my time” (line 27 and we feel as if we are her confidantes - we know how she is going to appro the problem of vindicating the rights of women. Throughout the piece her language is provocative - she talks of 'fascinati graces, “pretty superlatives, 'sickly delicacy' - and extreme with references “animals' and “a seraglio' in an effort to evoke a response in the reader. 5 The tone is bold and unequivocal throughout, and within the first sentence w are made aware of Wollstonecrafts stance on the subject of women's rights. Nowletus review how we approached our analysis: The first step was that of close reading and thinking. Then we focused on the conflict throughout the essay. The next step was to track this conflict and trace its development. 'We then thought about the end of the essay and the ground that we had covered Finally we considered our responses to the piece. We now have enough material for an essay on the text, a sample version of whik follows. £ ample essay - A Vindication of the hts of Woman In this passage Mary Wollstonecraft presents an outline of her intentions for the work to follow. Her style is such that the reader is awakened and engaged by sarcasm in the opening line then given a clear synopsis of the writers ideas and desire to influence in the first paragraph before she becomes more passionately critical. As the piece develops, the language becomes stronger, more confrontational and even more persuasive, thereby reflecting the very process she urges women to undergo. This is a courageous piece - written not in the twenty-first century as one ¡ght assume from its outspokenness and its essential message, but in the eighteenth century. Bearing this in mind as we read makes the argumentative 198 Mastering Practical Criticism slo ana comen even amore va. amo 19 a apro a as aos “and men to open their eyes and see the injustice of patriarchal perceptions of women and femininity. Men need to stop limiting and silencing women with heir expectations, and women need to stop complying. This is an incitement to rebelion and as such its underlying conflicts are plain to see and openly reflected in the language and structures Wollstonecraft uses. j “The opening words place her clearly in the conflict; this is her 'own sex' that is under attack and she is going to fight “the men' who are attacking. The lan- guage of conflict and determination peppers the first paragraph (and indeed the whole piece): 1 earnestly wish to point out... to persuade.... to convince, she states as she calls women to fight “the soft phrases, susceptibility of heart, delicacy of sentiment and refinement (which] are almost synonymous with epithets of weakness' by “acquirling] strength of both mind and body” She sees “rational creatures' where men see women 'in a state of perpetual child- hood, unable to stand alone. Her first action, therefore, is that of “dismissing those pretty feminine phrases' she sees as a weapon of control “which the men condescendingly use to soften our slavish dependence She employs the language of rational argu- ment traditionally connected with men: “wishing rather to persuade by the force of my arguments than dazzle by the elegance of my language" “Thus her “simple unadorned truth is juxtaposed with the 'sickly delicacy' usu- ally expected to be 'dropping glibly from the tongue” of her fellow women. This is therefore an internal conflict for Wollstonecraft, as she fights against society's expectations as well as an external conflict between men and women. As has already been suggested, her language becomes stronger and more ser- ¡ous as the piece develops. From the unity suggested by “our slavish dependence" and the emotive and dramatic imagery of slavery employed here, Wollstonecraft moves on to a clear attack on the nature of women's expression and the fact that ithas a direct effect on their lives, their enjoyment and their usefulness or ability to fulfil their “natural role. Rather than simply being reflections of women's sta- tus, their prety feminine phrases' reinforce women's 'meekness' and are described in more vicious terms as 'sickly, “false” and 'overstretched! As a result, they are actively 'stifling, so that “weak elegancy of mind, exquisite sensibility and sweet docility of manners' (lines 14-15) in fact 'render the domestic pleas- ures insipid, that ought to sweeten the exercise of those severe duties, which educate arational and immortal being for a nobler field of action. Herein lies the cruxof Wollstonecrafts argument, which is articulated numer- ous times in different ways throughout this piece, but arguably never more clearly than when she states in paragraph two that she wishes to 'show that elegance is inferior to virtue, that the first object of laudable ambition is to obtain a character as a human being regardless of the distinction of sex. This aim is clearly contrasted with the “current' conception of women as “the weaker vessel' - a lower grade inanimate and empty object —'animals' and “children -who, by definition, are not capable of adult thought or responsibility. Marriage, she acknowledges, is women's usual route to social advance- ment. She points out, however, that this is just another social trap that makes Practical críticism of prose (eighteenth-century) 199