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Modelling Factors in Constructing Female Characters in 19 Century

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Modelling Factors in Constructing Female Characters in 19 Century RECENT ADVANCES in APPLIED MATHEMATICS Modelling Factors in Constructing Female Characters in 19th Century Fiction RAMONA MIHĂILĂ Spiru Haret University Ion Ghica 13, Bucharest, ROMÂNIA [email protected] www.spiruharet.ro Abstract: - Hardly any short story or a novel fails to represent the woman under various facets: main role, secondary, in absentia or barely mentioned. Her presence triggers the ‘mise en scene’ of a character type that is subjected to the feminine gender. Thus, each feature – highlighted as a result of certain factlike predicaments – exposes a hypostatization. Here, the woman may turn into a tool of fate, through determination, self-determination, randomly or well thought about. Key-Words: Modelling Factors, Constructing Female, 19th Century Fiction Writers 1 Introduction onto the island of happiness (Caesara – Caesara). The female characters are showcased in a process of The myth of androgynous is, though, present. And change, into better or worse, from different the readers also come across the myth of perspectives. The dominant ones are the omniscient androgynous person in the « Caesara or Caesar » and psychological perspectives, as she is identified character (transl. note: Caesara is the female for with her main roles: lover, spouse, wife and a Caesar) in Avatarii faraonului Tlà (The mother. A lot of ink has flown about the female Personifications of Pharaoh Tlà). character as a lover. For the most part of the 19th For their narrative discourse, most of the writers are century fiction, romanticism was the key word, and trying to depict a psychological analysis for the therefore, the examination of the female soul has characters that usually fails; but, sometimes, we acquired a certain structure. For instance, the fiction encounter descriptions of the physical appearance, on the onset of the 19th century bears the where many autors choose to present their female romanticism features, and many female characters characters – at least the main ones – as being act melodramatically: they do a lot of crying, outstandingly beautiful (Mărgărita, the woman weeping or fainting for no reason. In two of his figure in the homonymous short story of V. short stories, Zoe and O alergare de cai (A Horse Alecsandri, is «the most beautiful among the Race), C. Negruzzi introduces to readers two young Moldova aristocrats »); for this purpose, some of ladies, Zoe and Olga. Sketchy characters, solely them find all kinds of epithets, comparisons and identified by their melodramatic behavior and metaphores, sometimes ridiculous (see N. D. nothing else, they fall in love passionately, are Popescu, Sora de caritate/The Sister of Charity). cheated on and kill themselves, in an attempt of The mimetic in the physical description of the 19th revenge. century works (namely, the writings of N. D. Popescu, an author of novels written in instalments, 2 Problem formulation and solution supposed to be an audience magnet) may be felt on the one hand, in the closeness to the famous artists in Toward the end of the century, Ioan Slavici brings in the Ancient and Middle Ages, in their eclectic new female characters. These women will be composition [a frequently style during that time] of looking for a new social identity to match their an ideal of beauty (here, the readers encounter the individual one, by rejecting the repressive 16-year old Mimica), and on the other hand, made conventions. For this purpose, he was joined by explicit by this comparison as an identical mimetic other writers who tried to partake with the women manner, instrumented by different tools – the literary who were trying to pinpoint their identity. description: “The finest and brightest California’s Mihai Eminescu creates a unique female character, gold, in a wreath of tinsel strings covering the head the « ideal woman », blonde, blue- or green-eyed, of that gorgeous fairy, the ripest Bengal rays and the with her snowy or marble-like skin. This woman 1 whitest Lebanon lilies were gracefully weaving on will love as an angel and will follow her lover to the moon (Maria – Sărmanul Dionis/Poor Dionis) or 1 The motive of ‘Lebanon lilies’ can be also found in the ISSN: 1790-2769 601 ISBN: 978-960-474-150-2 RECENT ADVANCES in APPLIED MATHEMATICS that godly face, and the bluest sky blending in with range, up and down: „1-very beautiful, 2-cuddie, 3- the quietest sea, soaked in two milk puddles hiding neat, 4-quite a good piano player, 5 - so so.., 6 - between two rows of silky eyelashes – and all these funny, 7 - not bad, combined to give the best decor – two eyes that 8- dwarf, 9-ugly, 10-hideous”; he states that, would have made even Venera jealous. A blooming whenever you are inquiring about whether a girl is carnation as her mouth, two milky pearls peeking beautiful, and the answer reflects that she plays the through her crimson lips and a piece of Carrara piano quite well’, the suitor must quit soon or take carved by the chisel of Canova to be her neck. his hat and run anywhere his feet will take him. 3 Costache Negruzzi also turns for help the same In Istoria unui galbân/The Story of a Golden Coin, sculptor while describing Olga, who was like a Vasile Alecsandri, by the Dutch Ducat, decides – in ‘statue of marble, right out of the hands of Canova’. order to describe women - to follow those authors (O alergare de cai/A Horse Race). who‚ in their desire to make a portrait, they use the Even later on, both the realist and naturalist writers standard face in the passports... focused on the physical description, we find it very “Eyes, like the after-rain sky or a chicory flower. rarely and with its significant details only. The issue Eyelashes, long as a silk veil. Eyebrows, sharply of beauty is connected to the one of desire, image, arched as Cupid’s. Cheeks, round-longish, slightly fashion and all types of makeshifts. blushing with the daybreak lights, spread in a smile Most metaphors used in the portraits of women, both for the poetry sake and the poets’ pleasure. Mouth, a physical (beautiful /ugly), moral (honest / hard- rose bud, half-open. Teeth, skinless apple pits, or working / prostitute), social (daughter / mother / pearls. Hair, see above. eck, a swan, like the old grandmother) or psychic (greedy, coquette) have a times. Breast… .” 4 rich semantics and make us think of various image Here, the description stops, cause the standards of of a flower (suggestive for their decorative role), those times would not allow that. Mihail bird (the idea of freedom), colors (along with their Kogălniceanu is trying an idealizing metaphor while relevant significance) or to the four matter elements: describing Niceta’s breast, which was like in water, air, fire, earth. paradise, and even the angels would not have chosen A lady writer, hiding behind the pen name of another resting place, if they were permitted to leave Octavia, announces the readers that there are‚ thirty heaven behind and look for an earthly spot.’5, and N. signs of beauty that make a woman perfect: three D. Popescu turns to a famous Greek sculptor to paint white things: skin, teeth and hands; three black ones: perfection: “Her breast [Mimica’s] was more perfect eyes, eyebrows and eyelashes; three red: lips, than Phidias art ever created.’6 In order to depict the cheeks, nails; three long: body, hair, arms; three excitement that Caezara feels when she sees short: teeth, ears and legs; three large: chest, Ieronim, Mihai Eminescu says that “her breast had forehead and the space between the eyebrows; three so much flourished that a button just popped up off small ones: mouth, waist and foot; three thick: arm, her little too tight black velvet singlet…”7 Other hip and thigh; three thin things: fingers, hair, lips; three little ones: head, chin and nose.’2 3 Negruzzi, Iacob. “Stărostii”/Wooing a Girl in Scrieri I. The norms of the 19th century beauty requested that A text selected, notes and glossary by Andrei Nestorescu the authors let themselves guided for the description and Nicolae Mecu, preface written by Nicolae Mecu, Bucharest, Minerva Publishing House, 1980, p. 121 of the female characters by two coordinates: the 4 human [female] beauty and the moral beauty, which Alecsandri, Vasile. “Istoria unui galbân”/”The Story of a always functioned complementarily. Thus, if the Golden Coin” in Proză, An edition supervised and introductory notes by G. C. Nicolescu, Bucharest, female lead was not beautiful, she somehow had to Publishing House for Literature, 1967, p. 21 be chaste, wise, kind hearted and hard working, 5 Kogălniceanu, Mihail. „Iluzii pierdute … Un întâi instead. amor” (“Lost Ilussions… A First Love”), Opere During the 19th century, beauty represented a (Complete Works), vol. I. A selected text, introductory pivotal criterion in building the female characters. study, notes and comments by Dan Simionescu, In the short story called Stărostii/Wooing a Girl, Bucharest, Romanian Academy Publishing House, 1974: Iacob Negruzzi suggested ten categories of beauty, 91 6 where superlatives are next to the entire sensitivity Popescu, N. D. Sora de caritate (The Sister of Charity), Bucharest, H. Steinberg Publishing House, 1892: 6 7 Eminescu, Mihai. „Avatarii faraonului Tlà”/ The Song of Songs, Chapter 4: About the Mystery of Personifications of Pharaoh Tlà. Proza literara (Literary Marriage, The Beauty of the Bride Prose). An edition supervised by Eugen Simion and Flora 2 Octavia, Despre frumuseţe (About Beauty), Craiova, Şuteu, with an introductory study of Eugen Simion, 1891, p. 17 Bucharest, Publishing House for Literature, 1964: 92 ISSN: 1790-2769 602 ISBN: 978-960-474-150-2 RECENT ADVANCES in APPLIED MATHEMATICS authors, for instance Gr. Grandea, uses the syntagm seen such a graceful waist like Niceta’s” (Iluzii ‘boob’, but not erotically: “Zoe fondled her jumping pierdute …Un întâi amor/ Lost Ilussions… A First breast with her crossed arms”8 Costache Negruzzi Love).
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