Fantomina and Other Works. From Wikimedia Commons, the free media repository. While this is the form of disguise most explicit within Fantomina , it is not the only form that it takes in the narrative. Here Fantomina skillfully manipulates the physical facts of the setting and her costume to exhibit the power of her deception. Of course, it is possible that this is not an issue of class but, rather, an issue of profession. Present to your audience Start remote presentation. Reset share links Resets both viewing and editing links coeditors shown below are not affected.
A masquerade is a ball where a person could dress up as anyone they pleased and no one would know who they were. Not only does she manage to do this, but she does so on multiple occasions.
Going to a masquerade gave freedom to all who attended because of a lack of identity. This can be noted when she is with Beauplaisir as Fanomina, the prostitute, and she wants to tell him who she is before any more actions have taken place.
She feared that her identity would cause him to turn away from her. So, in order to maintain this freedom she keeps up the masquerade and chooses not to tell him her real identity. These women are in contradiction to one another.
However, the main contradiction can be seen between Fantomina and the main character. Fantomina is a prostitute and the main character is a lady of quality. She feels that in order to gain the attention of Beauplaiser she has to transform herself into a contradictory creature.
However, she cannot ruin her reputation, so she develops the clever ruse of Fanomina, a woman that would intrigue Beauplaisir and allow him to act out his desires.
Fantomina; or Love in a Maze is a novel by Eliza Haywood published in In it, the protagonist disguises herself as four different women in her efforts to understand how a man may interact with each individual persona. Fantomina; or Love in a Maze is a novel by Eliza Haywood published in In it, the protagonist disguises herself as four different women in her efforts to.
If she were to act this way as herself, her reputation would be ruined and Beauplaisir would lose interest. Other literary texts during this time period reveal the frustrations that resulted when men contradicted what they wanted in a woman. Thais was a promiscuous woman and Lucretia was a pure woman who after being raped committed suicide.
Instead of committing suicide, the lady of quality simple creates two different personas. One is herself and the other is Fantomina. Fantomina gets to be Thais while her other persona remains Lucretia.
During the s a lady was required to maintain her household. When looking to J. But this doctrince, so humiliating to your Sex, is at presented nearly exploded.
In short it confutes itself; and may be reduced to this simple question- Whether a Woman, who is ignorant and uninformed, will be more pleased in her manners, be better qualified to instruct her children, and manage the affairs of a family, than one, who is sensible and intelligent? Here it is apparent that the role of a woman was to remain in the house and maintain. By transforming herself into Celia the lady of quality is able to demonstrate to Beauplaisir that she able to maintain a household. Notwithstanding this Metamorphosis she was still extremely pretty; and the Mistress of the House happening at that Time to want a Maid, was very glad of the Opportunity of taking her.
In this passage it becomes evident that her display of being able to maintain a house is desired by Beauplaisir.
Donovan recognizes a shift from the 'feminist novel' to the more temperate 'sentimentalist novel' cf. Donovan This assumption is supported by regarding the progression of the books' appearances:.
The later ones present smaller type and more of it to the page, with lines more regular and typography less emphatic; the new novel looks calm, wise and more like other didactic genres. This development gives evidence for the general attitude in these two stages of Haywood's writing: the first being the unresting and emotionally pugnacious feminist writer 3 , the second being influenced by both printing and social conventions of the mid-eighteenth century, being an example for the general evolution of women's writing in these times, having - for the time being - capitulated before male domination and a patriarchal hegemony in the Long Eighteenth Century's England.
In Fantomina we encounter the protagonist and Beauplaisir as two persons of an at least similar social status. However, their public attitude and behavior are more likely to be determined by their respective gender roles than by their class consciousnesses. Throughout the plot we notice that Beauplaisir does not seem to have any second thoughts about doing what we experience him doing, which is in his perception openly seducing several women in short intervals or even parallel to each other.
The protagonist, on the contrary, senses herself forced to camouflage her real identity, confronting the object of her both amorous and sexual desire disguised as one of four aliases in order not to damage her reputation of a Proper Lady of these times, meaning that publically "[ As we know the protagonist to actually provoke Beauplaisir to court her, she achieves a temporary "[ Haslanger et. However, the nonexistence of a term does not condition the nonexistence of a phenomenon. Add to cart. Table of contents 1 Introduction 2 The rise of the novel and Haywood's contributions to feminist literature 3 Gender case studies in Fantomina 3.
This research essay is from short story Fantomina. Eliza Haywood Fantomina perceives that gender …show more content…. Fantomina always would manipulate Beauplaisir, so that his love for her would not die down.
Fantomina is the opposite of the stereotypical woman in the eighteenth century.