Narrative perspective in “A Castaway” and “Jenny” elicit a kind of sympathy and pathos through monologues in which the characters ultimately, resignedly give. Human Tigresses, Fractious An- gels, and Nursery Saints: Augusta. Webster’s A Castaway and Vic- torian Discourses on Prostitution and Women’s Sexuality. Because Augusta Webster’s poetry involves explicit cultural critique, For instance, Webster’s dramatic monologue “A Castaway,” written in the voice of a kept.
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Understanding what their relationship now means — and specifically the dependent relationship expected of her she is his, rather than he being hers — involves persuading herself of a new viewpoint.
What is the poem’s verse form?
There’s a voice, and that’s a pleasure. But I must have a conscience, must blurt out my great discovery of my ignorance! And where’s their profit of those prison years all gone to make them wise in lesson books?
How does the daughter respond to the noisy disruption of fireworks?
Romanticism and Victorianism on the Net no. To cluster the poems in this way encourages readers to make comparisons among the female speakers as women, by virtue of their gender, and among the male speakers as well. I have outfaced my own — that’s harder work.
Although later in her career Webster did occasionally publish augustz in periodicals, and some of her poems were reprinted in anthologies, readers in would only have encountered these poems in the collection entitled Portraitsor extracted in critical reviews of the same volume.
Do any poems celebrate old age?
The woman-castaway is grateful to God that her mother did not live to see her become a fallen woman. How dare they hate us so? Well, mine’s a short way and a merry one: I was too wretched to be meek: Now, sing song, ding dong, come the old vexing echoes back again, church bells and nursery good-books, back again upon my shrinking ears that had forgotten — I hate the useless memories: Why do you think Webster included this passage?
Eulalie, when she refused us all, ‘ill’ and ‘away,’ was doing Magdalene, tears, ashes, and her Bible, and then off hide her in a Refuge And after all it would be something hard, with the marts for decent women overfull, if I could elbow in and snatch a chance and oust some good girl so, who then perforce must come and snatch her chance among our crowd.
She worries because she does not feel the passion she thinks she ought:. Why do you think a reformist author presents a heroine who rejects the notion that solutions might be found to the problem of “excess” women without support?
What right have they to scorn us — glass-case saints, Dianas under lock and key — what right more than the well-fed helpless barn-door fowl to scorn the larcenous wild-birds?
Without a husband to provide meaning and direction, and without education or skills of her own, a young woman such as she was once cannot navigate the wugusta world:. What does she believe is the inevitable lot of women?
Is it appropriate for this situation? Oh they could keep their husbands if they cared, but ’tis an easier life to let them go, and whimper at it for morality.
For the world would not have that flight known. And who required it of me?
What motives may have prompted Webster to consider it unfinished and to refrain from publishing it? The blameless life, but never the content — never. How long could she have lived on the amount he sent her, and why does she reject his gift? Retrieved from ” https: The poems tell about the indecent, condemned occupation that makes them socially unacceptable figures.
Florence Boos: Study Questions, Augusta Webster, “A Castaway”
Merciless, merciless — like the prudent world that will not have the flawed soul prank itself with a hoped second virtue, will not have the woman fallen once lift up herself. Could they have been originally intended for a different sequence? What are the speaker’s views on the extent of her own responsibility for her situation, and are we expected to agree fully?