through and throughout all of history, examples of a domineering masculine nuclear number 18 importantly prevalent and easily identifiable. In Arthur miller?s decease of a Salesman and Robertson Davies? fifth expound occupation, plots, subplots and the relationships in the midst of addresss, some(prenominal) major and minor, oeuvre to establish the musical theme of manful supremacy and patriarchy. In Fifth teleph paladin line, Dunstable Ramsay and his childhood friend, Percy Boyd Staunton, each approached relationships differently. However, each approach was aimed at the reassert of independence and control over one?s intimacy disembodied spirit. Quite similarly, in Death of a Salesman, the detainment of the Loman family, able, slug and William, takeed the wo trimforce in their lives with little to no respect, objectifying them and treating them as a doormat to be walked over without remorse. Although the depiction of impregnable women is make in two bail iwicks, the melodic theme of a male-dominated, patriarchal-structured inn is formidably exhibited without. Although modern women atomic number 18 behind attaining equal status with men in the workforce, and throughout bon ton generally, the women in Fifth Business and Death of a Salesman argon approximately always visualized as vulnerable and incapable(p) beings. Robertson Davies? portrayal of Mrs. Dempster as a timid and flighty charr charcleaning lady foreshadows her future behavior and ultimate mental and distinct demise. While walking smooth the way in the settlement with her husband, Amasa Dempster, one winter evening, Mrs. Dempster is hit by a cast snowball thrown by Dunstable?s friend, Percy. Upon being hit, she ?gave a cry and, clinging to her husband, slipped to the ground? (Davies 8) and ?burst into vile tears? (9). At this, Amasa demanded to borrow Dunstable?s sled in order to cross his wife home. The physical dependence of Mrs. Dempster on Amasa in t his attendant alone, institutes the motif o! f male dominance exploitation a weak egg-producing(prenominal) presence. She clung to her husband in the hopes that he would hold her up and, once she?d met the ground, she relies on him to literally drag her down the road, back to their house. In addition to this, nearly e realone in the crossroads describes Mrs. Dempster as ?quiet and friendly and sweet-natured? (22) notwith accepting also as being ?slow? (24) and ?simple? (25). This translation only go oned Mrs. Dempster?s image as weak and inferior. In the like(p) fashion, Arthur Miller?s depiction of William Loman?s wife, Linda, in Death of a Salesman drop offs her portion to that of a doormat for him to cut through his feet on. William?s abrupt manner of dealing with Linda verges on intolerably rude and yet, Linda does nothing to symbolize herself. In an attempt divert William, Linda purchased a ?new kind of American-type cheese? (Miller 16). In response, Willy yells at Linda axiom ?I don?t compulsion a change! I want Swiss cheese. Why am I always being contradicted?? (17). William hence goes on to piss Linda to open more windows and go about other such(prenominal) origin to which she responds, with infinite patience, that ?[the windows] ar all open, dear? (17). scour though Willy has taken to her with a rude and spiteful attitude, Linda continues to cocker him and treat him as though he were a king. She locomotes to stand up for herself to him and, in this way, lends herself fully a position in which she entrust be taken value of. Though both women register their intelligence in their own rights, the men around them fail to see and appreciate it. Just as is parking land in society today, each piece of work fami prevaricatorly objectifies and exploits women. Through situations of alleged infract, matter and womanhoodizing, generally, the men of Fifth Business socially paralyze the women around them. Percy Boyd Staunton is the epitome of a womanizer as he cheats on his w ife, Leola, with numerous women from the city and doe! s so with no apparent feelings of guilt. In addition, he brags about his personal matters to Dunstable, who was rise up aware of Percy?s fondness ?of the sexual enjoyment a woman could give him? (Davies 225). Percy?s affairs were never grow in intellect or emotion, only the physical gaiety that could be provided. As well, Davies? description surrounding the assertable rape of Mrs. Dempster by a aggrandize, suggests vulnerability in her and an unwillingness to defend herself. Though Mr. Dempster was determined that his wife was taken advantage of, she herself admits that she hold to intercourse with the tramp because ?[the tramp] was very civil and he wanted it so badly? (45). The relation of civility to the tramp by Mrs. Dempster suggests that she was able to see the incivility of the rest of the men in Deptford. In much the same way as Percy Boyd Staunton, golden and Biff treat women as merely sexual beings, with very little respect. Early in the play, in one of the in troductory conversations surrounded by the boys, Biff and Happy discuss all of the women they?ve been with and Happy relates a story to Biff. Happy tells him that ?that girl Charlotte I was with tonight is tenanted to be married in louver weeks? (Miller 25) and then justifies the statement by blaming the affair of an ?overdeveloped sense of disceptation? (25). In his actions, Happy, though content with what he has done, makes a liar and a fraud out of Charlotte who, though could have refused to quietus with Happy, did so. so far again, this suggests a softness in the female cause in that she couldn?t resist being with Happy, even though she was engaged to be married. This attitude towards women may have been transmittable from William Loman who, too, has an affair with a lady referred to only as ?The adult female? (114) throughout the play. Though only present in reveries and delusional episodes, ?The Woman? seems to make Willy much happier than Linda does, as stage direct ions between the two always indicate laughter. Upon d! iscovering the affair, Biff loses respect for his father, byword to him ?You fake! You phony little fake! You fake!? (121). the ingeminate of ?fake? alludes to the theme of the play as a whole. Willy has lived his keep trying to convince others that he is more successful than he actually is, and having his own son point it out so blatantly seems to defeat Willy, as well. The example set by William Loman likely influenced the womanizing and degrading behavior of his sons, in the years to come.
The to the highest head significant threat to a male-dominated society is, of course, immobile women. In Fifth Business and Death of a Salesman, blotto women are illustrated using brute imagery, using predominatntly male characteristic or are simply described as ugly. Metaphorically, these images work to cast down women to a position of lower social standing and again, fix the viability of a patriarchal society. The salubriousest symbol of patriarchy in either work is Davies? character Liesl. Dunstable?s initial description of this woman painted her as a hideous imitation of a woman, who really looked more like a man. ?[Liesl] was probably a woman but she wore a man?s dress, had scant(p) hair, andcertainly the ugliest creature I had ever seen. Not that she was misshapen; she was tall, keen and obviously very strong, but she had hulky hands and feet, a huge, jutting jaw, and a heaviness of bone over the eye that seemed to confine them to small, very deep caverns? (Davies 197). In this passage, Davies presents the strongest woman in the novel with such a demeaning description in order to reflect the views of the society at the time. Women were not exchangeable i! n terms of rights and equalities with men, and thus a strong woman was seem as undesirable and was, subsequently, outcast. Though Arthur Miller is nowhere near as blatant in his description of strong women, through the characters Biff and Happy, he does degrade women using wolf imagery. Early in the play, Biff and Happy are trounce about all the girls they?ve known and pause to reflect on one in particular. Biff asks Happy if he remembers ?that verdant Betsey something? (Miller 20) to which Happy crudely relies that ?that was my first time- I think. Boy, there was a pig!? (21). Though Miller never discusses Betsey in moreover detail, the reader can assume that her description as ? whopping? was to emphasize her physical dominance over the boys of her age. In the same way that Dunstable described Liesl, Happy depicts Betsey as an animal, more specifically, a swine. This imagery is effective in that it highlights how intimidated men are by the presence of a strong and powerful w oman, be it mentally or physically. Though the presence of a precisely a(prenominal) very strong women is found in each work, the plots, subplots and relationships of the characters work in conjunction to establish and strengthen the motif of male supremacy. Through objectification, affairs and situations of sexual exploitation a strong pattern of male dominance is present in both Fifth Business and Death of a Salesman. The mistreatment of women and the description of their character as weak or incapable further this motif and lend itself to the societal consequences of social inequalities. Works CitedDavies, Robertson. Fifth Business. keen of the United Kingdom: Penguin Books, 1977Miller, Arthur. Death of a Salesman. Penguin Plays. New York: Penguin Group, 1949 If you want to get a full essay, order it on our website:
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