Question and Answer
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Describe how the female XXXXXXXXXXXX in Austen’s’ XXXXX and XXXXXXXXX, Dickens’ XXXXX Expectations XXX XXXXX’ XXXXXXXXXX XXXXXX both contradicts XXX coincides XXXX your perception
XX a XXXXXXXX heroine?
XXX XXXX XX XXXXXXXXXX Square, XXXXX expectations, XXX XXXXX and XXXXXXXXX are examples XX how literary XXXXX have XXXX XXXX to XXXXXXXX an ideology of XXXXXX XXXXXXX XXXXX XXXX male XXXXXXXXX and female XXXXXXXX. This XXXXX XXXX XXXXXXX how XXXXXX, Dickens, and James XXXXXXX XXXXX in XXXXX literary works as XXXXXXXXXX with a coinciding XXX contradicting nature in XXXXX of literary XXXXXXX.
XX Pride XXX Prejudice, XXXXXX XXXXXX a XXXXXXXXX XXXXXXXXX wholly from a XXXXX's perception. XXX XXXXXXXX characters XXXXXXXXXX, whether among XXXXX, XXXXXXX XXX, or XXXXXXX XXXXXXXXXXXX XX both, a XXXXXX XXXXXXXXX always abounds. The XXXXXXXX XXXX focuses XXXX on Elizabeth's opinions and XXXXXXX, and XXXXXX dwells little on men, such as Mr. XXXXXXX or Mr. Bennet's mindsets. In XXX the conversations, there XX XXXXXXXX of XXXXX's presence, either in XXX physical XXXXXXXX or in the minds of XXXXX discussing. XXXX shows XXX infallibility of XXXXX heroism in XXXXXX's XXXXX XXX XXXXXXXXX.
Due XX XXX absence XX XXXXXXXXX, Elizabeth had been obliged, to XXXXXX XXX dances. XXXXXX XXX XX XXXXX dances, Mr. XXXXX XXX been standing near enough XXX her to overhear a conversation XXXXXXX XXX and Mr. XXXXXXX. XX. Darcy taciturnly said, “Elizabeth XX XXXXXXXXX; but XXX XXXXXXXX XXXXXX to tempt me; XXX I am in no humor XX present XX give XXXXXXXXXXX XX young ladies XXX XXX slighted XX other men”. Elizabeth XX her own XXXX XXXXXXXX with XX XXXX XXXXXXXXXXXX XXXXXXXX XXXXXX XXX. XXX told the story XXXXXXX with Great XXXXXX among her XXXXXXX; for XXX XXX a XXXXXX, playful disposition, XXXXX XXXXXXXXX in anything XXXXXXXXXX. (XXXXXX X-9)
This XXXXXXXX XXXXXXX XXX XXX men Darcy XXX Bingley is appended XX XXXXXXXXX’s perception. It is evident XXXX XXX narrative XXX is XXX XXX eavesdropping on the XXXXXXXX, XXXX XXX given her XXXXXXXX XX XXXXX XXXXX. This XXXXXXXXX has a XXXXXX male perspective outside the discussion XXXXXXX XXX XXXXXXXXXX in XXXXXXXX, and XXXX XX XXX XXXXX’s XXXXXXXX feminine XXXXXXX XXXX XXXXXX XX XXXXXXXXXX.
XXXXXXXXX, in Washington, in XX much as XXX XX XXXX XXXX XX work out her destiny, her feminine heroism abounds. XXXXXXX, XXXX XXXXXX heroism XX XXXXXXX XXXXXXX. It's because XXX XXXXX turned into a XXXX cynic like her father and that XXX her strength was from her XXXXX. For Henry XXXXX, he created an unusual heroine, atypical in nature, plain-faced in XXXXXXX, with XXXX wits, XXX this XXX the XXXXXXXXXXX XXXXXXXXXXX of Catherine XXXXXX. XXX docility XXXXXX her XXXXXXXXXXX, as XXX ideals XX dutifulness as a XXXXXXXX were XXXXXXXX in her. In her XXXXXXXX XX XXXXXXXXX, docility, XXX XXXXXXXX, XXX XXX XX called a literary XXXXXXX of XXX novel, but XXXX XXX XXXXXXXXXXXX XX her utter dependence XX her male counterparts. XXX XXXXXXXX, when XXXXXXXXX wears XXXXXXX XXXX overstate her subjective wealth, XXX XXXXXXX “XX XX she XXX eighty thousand a year” and XX. XXXXXX XXXXXXXXXXXXX XXXXX her that XXX XXXXX “XXXXXXXXX,” as XX she XX wearing her inheritance. This indeterminate dependency XX XXXX counterparts XXXXX the dearth XX XXXXXXX in Catherine.
Dickens, in his literary work, XXXXX Expectations (XXXX), represents women, for instance, Miss Havisham XX victims XX XXXXX. From the marital frustrations faced by Miss Havisham, she harbored very acute XXXX XXXXXXXXX XXX XXXXXXXX these XXXXXX into the XXXXXX mind of her XXXXX, Estella. XX a result, Estella XXXXX into a firm feminist XXX sees XXX XXXX XXXXX XXXXXXX. XX the XXXXX, the XXXXX depicts XXXXX two ladies in their XXXXXXX, being XXXXXXXX XXX XXXXXXXXXX XX the XXXXXX XX almost XXXXXXXX Pip, a XXXXX man who XXX them with a view XXXX XX in-XXXXX XXXXXXXX, love, and XXXXXXXXX, underfoot. However, both XX XXXX XXX XXXXX XXXXXX XXX XXXXXXXXXX, thereby, moving XXXX XXXX XXXXX heroines to XXXXX dependents XX XXXXX male XXXXXX. XXXX Havisham XXXX XXX XXXXXXXX arrogant XXXXX XXXX XXX's XXXXX, advising XXXXXXX to XX XXXXXX with him.
XXX XXXX XXXXXXX shows the contradiction of female heroism XXXX Dickens displays. “What!” XXXX Miss XXXXXXXX, XXXXXXXX her XXXX upon her, “are you XXXXX of XX?" Estella looked XX her XXXX perfect XXXXXXXXX, XXX XXXXX XXXXXX down XX XXX fire. Her XXXXXXXX XXXXXX XXX her beautiful XXXX XXXXXXXXX a self-possessed indifference XX XXX XXXX heat XX the XXXXX, XXXXX was almost XXXXX. “You stock and XXXXX!” XXXXXXXXX XXXX Havisham. “XXX cold, cold heart!" “XXXX?” XXXX XXXXXXX, preserving her attitude of indifference as she XXXXXX XXXXXXX the XXXXX chimney-XXXXX XXX only XXXXXX her eyes; “do you XXXXXXXX me for being XXXX? You?" “Are you not?” XXX XXX fierce XXXXXX. “XXX should XXXX,” said XXXXXXX. “I XX what you XXXX made me. Take XXX the praise, XXXX all the blame; take XXX XXX success, XXXX XXX the failure; in short, take me (Dickens, 1992a: XXX). XXXX in itself shows a XXXXXXX XX XXXXXXXX, heroism XXXXX with XXXXXXXXXXXXX XXXXXXXXXX, the XXXXXXXXXX XXXXX no XXXXXX XXXXXXX XXXXX XXXXXXXXX.
Thus, Dickens, XXXXX, and Austen portray women not XX XXXXXX XXX XXXX on their XXXXX XXX as dependents XXX XXX only XXXXXXX with XXX's support. XXXX, from XXXX XXXX, XXX XXXXX in XXXXX XXXXXXXX XXXXX lacks a literary heroine's XXXXXX though she XXXXXXXX some traits XX XXXXXXX in the XXXXXXX outlay of the work.