The Early Modern Period Women 17th Century
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In the early modern period women are seen as beings who are emotional, frail, and destructive. Women, during this period, had little rights and many individuals resisted the idea that they were equal to men. The destructive nature of women has labeled them as femme fatales. Men, on the other hand, were represented as strength, stability, and reasonable. Many individuals disregarded the female voice by saying, âwomen were corrupting forces and needed restraintâ (Hunt et al. 544). The restraint that they are mentioning is marriage. Individuals believed that marriage would allow men to control womenâs emotions and destructive nature. This decision only inspired women more to have their voices heard. The actions of women only strengthened the stereotype of a woman being a femme fatale.In the Age of Reason and political Absolutism there was an increase in important roles played by women. Many women, in the 17th century congregated in salons, which were âinformal gatherings held regularly in a private home presided over by a socially eminent womanâ (Hunt et al. 544). During these gatherings, female authors, read their compositions for feedback. One famous author that attended salons was Jean Racine. Jean Racine published a famous play called âPhaedraâ in 1677 in Paris. According to Women in World History, âthe rise of a vocal female presence in literature and art is one of the most significant developments of the eraâ (Lopez et al. 1). Racineâs play âPhaedraâ is evidence that supports the emotionally destructive nature of women as femme fatales. Racineâs play focuses on the uncontrolled love of Phaedra for her stepson that leads her to a tragic demise. After Phaedra was rejected by Hyppolytus, she turns her anger towards her nurse Oenone. Phaedra blames Oenone for ruining her life by saying, âYou have destroyd me not another word! Go, hateful monster; Away, and leave me to my piteous fateâ (Racine 4). Out of emotional grief due to her mistressâs words, Oenone jumps into the ocean, committing suicide. Oenoneâs steadfast duty towards Phaedra, controlled by her emotions and actions, leads to her demise. Oenone only condemns Hyppolytus to save her mistress. When Theseus, Phaedraâs husband, becomes suspicious, Oenone quickly implants thoughts of adultery and incest into his mind. Being careful not to condemn her mistress, the nurse cunningly pushes blame on Hyppolytus. According to cliffnotes, âHer misdeeds are not the result of an evil nature but the perversion of a virtueâ (Klin 21). This is evidence of her dedication and love towards her mistress. Her quick responses and cunning actions for her mistress makes her a prime candidate as a femme fatale.
Another femme fatale in Racineâs literature is the character Phaedra. Phaedraâs lustful passion towards her stepson, Hyppolytus, begins to cloud her judgement after she was rejected. At first she resisted her urges by casting Hyppolytus away. However, soon after she hears that her husband might be dead, her nurse gives her hope that drives her to confess to Hyppolytus. Her overwhelming emotions causes her to say hurtful things to the people dearest to her, as well as prompt her extreme behavior. Phaedra blames her embarrassment on Oenone and condemns her saying, âmay your punishment forever be a terror to all those who would nourish with artful wiles the weaknesses of princes, push them to the brink of ruin to which their heart inclines, and smooth the path of guiltâ (Racine 4). After hearing these words from her mistress, Oenone commits suicide. Phaedra does not feel guilt nor remorse after speaking to Oenone in this tone. Â Instead, her remorse lies in her false accusation of her stepson Hyppolytus. She even goes into a jealous rage after hearing that Hyppolytus is in love with another woman, Aricia. Phaedra castigates Aricia to Oenone by saying, âShe must be destroydâ (Racine 4). At this point, Racine shows that Phaedra is completely compelled by her emotions which leads her to do and say malicious things. Phaedraâs shame, unrepressed emotions, and guilt foreshadows her suicidal demise. Phaedra shows her husband her guilt by allowing herself to die in front of him. Phaedra lays blame on Oenone as well as condemning herself by saying, âin my heart the venom works, infusing there a strange and fatal chill; already as thro thickening mists I see the spouse to whom my presence is an outrageâ (Racine 7). She kills herself in hopes that her actions will purify her in the eyes of her husband and the gods. Phaedraâs extreme actions lead by her unrepressed emotions reinforces the stereotype of women as destructive forces driven by emotion.