The French Lieutenant's Woman

considered to be the typical Victorian attitude) to sexual activity. Finally, Sarah is the typical evil character, easily identifiable by those who read the gothic fiction of the time yet unidentifiable due to her many nicknames – ‘Tragedy’ or ‘The French Loot’n’nt’s Tenant’s Hore’. In Our Country’s Good, rather than typical characters, Wertenbaker’s characters are very closely related to the people she bases them on. This is despite the fact that the play itself is based on the novel ‘The Playmaker’

The Ways in Which Narrative Perspectives Vary in The French Lieutenant's Woman and Hawksmoor Although there are many different perspectives taken in the two novels that shape the overall theme of each plot, comparisons can be drawn between them to show that they share a few fundamental similarities in the way that the authors present their narrative. By looking at the this presentation, it is possible to extract that the authors share common ground in the role that they

Oscar Wilde's presentation of women in 'A Woman of No Importance' in comparison to John Fowles' views of women in 'The French Lieutenant's Woman', in light of the view that Oscar Wilde has a more sympathetic view of woman in his time. In this essay I will be comparing Oscar Wilde's play 'A Woman of No Importance' to John Fowles' novel 'The French Lieutenant's Woman'. I will be exploring their differing views of woman in Victorian society. Generally, woman were viewed as inferior to men, yet Wilde

A Study on Metafictive Devices in The French Lieutenant’s Woman Abstract The French Lieutenant’s Woman is a splendid literary work written by English novelist John Fowles. It was published in 1969 and received universally acknowledged reputation as a masterpiece of postmodern novel. With intricate plot, the novel is regarded as a compelling historiographic metafiction in contemporary British literature. The characteristics of this novel are the metafictive devices employed by the author

Readers have not always considered the idea that they have the opportunity to choose the path of the story they read.  In The French Lieutenant’s Woman, John Fowles revolutionizes the traditional art of story telling by breaking away from certain aspects of the novel to introduce a whole other world of fiction. The narrator plays a significant role, by providing insight into Victorian society, acting as a character in the story and creating relationships with the characters, all of which breaks away

hesitation co-exist; with immense formal energy and inventiveness in problematic fictions such as Doris Lessing’s The Golden Notebook, Augus Wilson’s No Laughing Matters and differently in Iris Murdock’s The Black Prince as well as Fowles’s The French Lieutenant’s Woman. These novels carry the currently inescapable and romance theories of insubordination. They leave the reader as Lodge has suggested with a paradox about the relations between art and life. “The reality principle is never allowed to lapse

structure and detail, while pushing the traditional boundaries of narrative in a very modern manner. It explores the fraught relationship of gentleman and amateur naturalist Charles Smithson and Sarah Woodruff, the former governess and independent woman with whom he falls in love. Fowles has represented Sarah Woodruff and Charles in a very contrasting manner, one being so independent and other like more stereotypical male characters, that also receives attention for its treatment of gender issues

them as such, male or female. Furthermore, while the scales have seemed to tip in order to allow a more equal balance for how men and woman can act in society, we still are not quite there yet. Gender roles exist everywhere in the world and are still very much deep rooted in human nature. The Victorian era in which the novel is set, The French Lieutenant’s Woman by John Fowles, major themes such as Gender roles, Sexism, Hypocrisy and character foils and representations are blatant throughout.

Ayesha acts against the moral grain of Victorian era. She subverts the expectations of her being an object to be possessed. Also, she hides her real nature yet she exercises her sexuality through treacherous ways to seduce men. Helen Hanson refers to the “femme fatale’s ambiguous origins beyond the visual appearance when she adds that she has a, “sense of mystery, of a concealed identity always just beyond the visible surface” (1). This is can be seen in Ayesha who appears in Holly’s phrase as “a

their love. On the contrary the lower-working class people like Sam and Mary were comparatively freer than upper class in their romantic pursuit. And from this example also we can catch a glimpse of historical reality as reflected in The French Lieutenant's Woman. Another from this we come to know a historically significant social reality. The upper titled classes were living a lazy life. They were away from the business and trade. But they used to marry a middle class girl if she has lots of money