Compare and comparison your 3 text messages in light of the comment, exploring the way they endorse or challenge this view. The stereotypical image of women in fairy stories portrays them as vulnerable, feeble and passive. However, many of these traditional fairy stories were Old Wive's tales, such as those informed by Marie-Jeanne L' Heritier that presented sharp woman protagonists who relied on wit as opposed to the stereotypical dashing prince to create the 'happy finishing'. Therefore, it can be figured it was at fact the male counterparts who required the original reviews; turning the individuals into obedient and 'subservient' females. The idea of women being behind the true inspiration for modern fairy tales is furthered by Jack Zipes in his introduction to 'Don't Wager on the Prince'. By concentrating on the 'historical re-examination and rediscovery of matriarchal features in folk and fairy tales', Zipes talks about how Jane Yolen, a gifted story book writer 'examined different Western european folk types of Cinderella and established that the initial heroine got never been "catatonic"'.
My argument is that three text messages revert to the traditional image of ladies in fairy tales that were designed to show them as independent, self-confident and smart. From my point of view 'Goblin Market' and 'Great Objectives' endorse the view that it is better for ladies to be subservient whilst 'The Bloody Chamber' obstacles it. However, all three writers have used the story book genre as a literary style, which implies a means of escapism; a illusion setting up to explore ideas that are unachievable in the realms of the patriarchal world. As Helen Simpson says in her introduction to the 2006 version of 'The Bloody Chamber', the 'metaphor of illusion can be helpful when airing questionable subject matter' which is the reason why the authors are able to push the restrictions and at the same time catch the reader's attention by using powerful realism.
Out of all three text messages 'The Bloody Chamber' is the written text with the most Feminist stance, due mainly to its framework, as it was written during the 2nd influx of the Feminist movement in 1979. The feminine character types are daring and inquisitive; the Mom destroys the Marquis with a 'solo, irreproachable bullet', showing her fierce effort and determination, with no need for male assistance. This links back again to how this text message is more aligned to traditional fairy tales that portrayed females as positively struggling for justice. In addition, it explores the theme of maternal interconnection between mom and little princess; the scent of the 'amniotic salinity of the sea' has clear allusions to the womb, as though the protagonist's mother is caressing her daughter as she arrives at the phallic castle, a traditional fairy tale image, with its 'spiked gates' foreshadowing the violence of the Marquis. In contrast, 'The Goblin Market' shows both sisters as different identities; from a psychoanalytic perspective, Lizzie can be perceived as the superego, as Lizzie in Hebrew means 'God's Oath' which presents her as the sensible and natural; the tone of voice of reason. Laura is viewed as the identification because she actually is lured by temptation; she actually is 'inquisitive Laura' who 'decided to go with to linger'. Critic Winston Weathers thinks that both sisters become 'included' when both of 'them marry'; I see this integration as the incorporation of the sisters into the local Victorian world where women were considered Moms and Wives rather than to enjoy sexual joy. Whereas 'Goblin Market' is a perplexing, and sometimes daring, attempt to use escapism as a means of checking out the fantasies of Victorian women, 'Great Goals' has been detailed by Harry Rock as an 'exceedingly simple fairy tale tale', yet I do not agree with this affirmation when looking at the portrayal of feminine characters, because they are detailed with great intensity; there is little or nothing 'subtle' about them. It is questionable why Dickens developed these individuals with such drive and, considering Dickens' book from an intrinsic perspective, one can observe that he was in a loveless relationship with his better half Catherine. I really believe he created these caricatures of females to vent his frustrations. It can be argued that the perfect Victorian persona of Biddy (who demonstrates it is better for women to be subservient) was made to echo Dickens' own affair with the young Ellen Ternan, who he attained in 1857, as this difference between Joe and Biddy is around the same of that as Dickens and Ternan.
The ending of all three text messages is proof to the way they either concern or endorse the assertion. With 'The Bloody Chamber', from a Feminist perspective it is clear the way the decision for the young woman to lead a 'noiseless life' is not predicated on money as an indicator of success; she leads a model life. Plainly, Carter challenges the theory that it's better for females to be subservient through how she has subverted the gender assignments, showing how aspirations that aren't based on riches or relationship (the protagonist does not have 'enormous wealth' and it is widowed) may bring the 'gladly ever after' closing without the stereotypical dashing prince. Nevertheless, some Feminist critics have been well-defined to touch upon how, '[Carter] could go much further than she does indeed' (Patricia Duncker). Also, Duncker is convinced that the 'formulaic framework' of 'The Bloody Chamber' means that patriarchal power is re-instated rather than challenged which Carter comes into an 'infernal trap inherent in fairy story'. I wholly disagree with this argument as I believe Carter has pressed the limitations enough to challenge the idea that it's not better for ladies to be subservient. For instance, I agree with critic Maria Tartar in 'Secrets Behind The Door', who offers that because Carter has centered on 'The Bloody Chamber' within the subject rather than proceeding down the 'well-worn paths of folkloric technology' she's focused immediately upon the fight of women. It is because I see the chamber as symbolic for the womb and the hurting of childbirth that women endure and so the title immediately focuses on natural female electric power and strength. In contrast, the final outcome of 'Great Prospects' endorses the idea that it is better for girls to be subservient through how Estella, who was simply once a 'self-possessed', 'beautiful' young lady, transforms into a figure whose 'freshness of her beauty' has withered away: it is because of her abhorrence of men. Last but not least, by the end of 'Goblin Market' the two sisters comply with Victorian worth, Rossetti claims that the ladies are both 'wives' and 'with children with their own' and the fruits are actually restrictive like 'honey to the neck' somewhat than being 'special to tongue and audio to eyesight', portraying how a getaway to home Utopia could only be achieved through the dream setting up of Goblins and mysterious super fruit. In both 'Great Expectations' and 'Goblin Market' there is a shade of disappointment; Estella is, by the end of the book, a two dimensional persona who does not have any 'shadow' parting 'from her' and the two sisters still live 'beset with concerns' of the contemporary society they live in.
Concerning the force of male vitality in 'Goblin Market', the Goblin Men are just as dominating as the Marquis in 'The Bloody Chamber'; their shrill cries of 'come buy' are repeated to place the focus on economics in the poem. To illustrate Lizzie only benefits bargaining ability with her 'silver coin', that is to say when she steps into the male world of commerce. On the other palm, Laura provides a 'precious fantastic lock' therefore is theoretically selling an integral part of her body to then become managed by the Goblin Men; she has become a 'fallen girl' exactly like those Rossetti helped at St. Mary Magdalene Penitentiary in Highgate, a definite source of creativity for her poem. In contrast, 'Great Anticipations' features women as the more dominating heroes but, again, by the finish of the book it is clear these strong women could have been easier to be subservient. Firstly, it is important to remember that Dickens' composed 'Great Anticipations' as a serial book, which explains why he had to produce these bold female characters; Neglect Havisham has turned into a stereotypical image of a bitter female and these vibrant characters helped to keep the reader's interest over an interval of weeks and months. Yet the women who lose ability were those who disobeyed men; Pass up Havisham requests forgiveness; with her bridal dress setting alight and 'slipping in a black bathtub' symbolic of her guilt. Dickens is commenting about how attempting to go above the position of men was not 'better for women' as it led to discontent. Referring again to the final outcome of 'Great Targets' Biddy is the one female character who is married and living in a house of domestic bliss, where in fact the windows are 'wide open and homosexual with plants' - a graphic of 'gladly ever before after' - this is because Biddy has conformed to the Victorian ideal of the 'Angel in the House', a term coined by Coventry Patmore in 1854. As a result she actually is subservient to men but nonetheless is viewed as admirable. Although the character of Jean-Yves in 'The Bloody Chamber' is a possessor of all ideals of the 'Angel in the House'; he is pious as a 'chorister in the church'; he's powerless as he is 'blind' and he's graceful with 'a soft mouth', he troubles the view that ladies are better to be subservient because now the protagonist and the piano-tuner are equivalent because of his womanly characteristics.
Another key theme that is important to the argument whether it's better for ladies to be subservient in fairy stories are the themes or templates of imprisonment and problem. Within 'Goblin Market' Laura is consumed totally into the patriarchal world and its corruption; the super fruit is described as a narcotic, as she's 'sunk sight and faded mouth'. As the fruits is symbolic of male virility the fact that she craves the fruit shows that she craves the role of men in her life and a desire for sexual pleasure. Alternatively, in 'Great Goals' Neglect Havisham's Satis House is symbolic of resentment and grief; the brewery is 'unfilled and disused' and the house has 'flat iron pubs to it'. This imagery of Satis House as a jail creates the idea of Miss Havisham as a witch; she has become this because she seems the necessity to hold onto the grief in her life. It could be argued that if she been subservient to men she may have satisfied Propp's 'Princess' persona role as set out in his morphology, but instead of marrying the hero she clings onto the past in a state of decay. The critic Harry Natural stone commented about how 'Satis house is a genuine English manor house and is also a wild story book nightmare'; this is actually the irony that Dickens expected, as 'Satis' means 'enough' in Latin, yet my interpretation is the fact that Satis House is never 'enough' for Miss Havisham, it is not fulfilling and she only confirms true pleasure when she symbolically places alight to her 'faded bridal dress'. Naturally, there are strong connections between 'Great Objectives' and 'The Bloody Chamber' in terms of imprisonment, with Carter using a Gothic style to explore the ideas of violence, horror and doom. However, Personally i think Carter parodies the Gothic style to task the thought of it being better for women to be subservient, as the protagonist of the novel feels 'no dread' but curiosity when coming into the chamber. Overall, this is why the protagonist continuously challenges the idea that it is not better for girls to be subservient; she actually is fully aware of her situation and is aware of her own demise, something that Carter clues at through symbolism, such as the 'ruby red choker' to stand for the method of loss of life.
Critic Terrence Holt thinks that 'Goblin Market attempts to imagine a position for ladies outside systems of ability', but it is it's 'terminology' which means it 'cannot evade from gender'. Exploring this idea, the primary area of the poem where there is this fantasy world is where in fact the language of the poem strengthens the power of the Goblins as the image of men. Rossetti categorically represents each goblin man as 'one', displaying their strength in quantities and, like the Marquis in 'The Bloody Chamber', by not given them an id they are viewed as more threatening. Holt's notion of not being able to 'get away from gender' is apparent with how Rossetti details them as 'goblin men' when they are along and their activities are military like; they 'turn'd and troop'd' and 'stood stock still'. The mono-syllabic words represent their male durability over both young girls and contrasts sharply to the feeble explanation of Laura with her 'gleaming throat'. Overall, it endorses the affirmation that it's better for women to be subservient because the goblin men are referred to as brothers, in solidarity and their enigma creates dread among the two young girls. Alternatively, Carter with 'The Bloody Chamber' immediately places the power and dominance with the young gal not only through the first person narrative but also because of how she parodies male erotic books. The description of the 'great pistons ceaselessly thrusting' has allusions to gender and her approach to travel is a phallic sign. By parodying erotic literature, Carter is re-asserts how women can have feminine sexuality; this is also why Carter has portrayed the Marquis as Sado-Masochistic because it links the mysteries of the castle with making love itself; for example she goes to find a publication to read but discovers the picture of the 'Reproof of Attention'. The young girl's decision to disobey the Marquis is part of her journey from young woman to woman and in doing this she ends up happier and more contented than she ever would have been if she had been subservient to the Marquis.
In conclusion, the significance of the story book style is undeniable with these three text messages, as it ignites the creative imagination of most three writers, permitting them to explore and fantasise about females in situations that traditional literary genres could not allow. With 'Great Goals' the use of the fairy tale is not as dominant as within the other two texts, yet this will not detract from how important it is endorsing how it is best for females to be subservient because the stereotypical 'beautiful' woman - Estella - eventually ends up unhappy whilst Biddy, who is hitched and a pursuer of education, sometimes appears as successful. In the same way, 'Goblin Market' on the surface appears to be a poem of women's sexual liberation but the line between 'magic realism' and true reality is clear in the final outcome, recommending that escaping the patriarchal world was not achievable in Victorian England. However, 'The Bloody Chamber' challenges this view vehemently as it subverts gender assignments and has a Mother as a hero, with the panorama and stunning imagery of the fairy tale world allowing her to flee her imagination.