The works of TS Eliot and Virginia Woolf represent the eve of first-wave feminism, where traditional Victorian principles were challenged by controversy within the royal family, the more assertive role played by women during the First World War, and women's right to vote (although only for thirty-year-old heads of household or wives of heads of household). This meant that the challenge to women's sexuality, gender, and “biological” and social status was constantly changing (i.e., the weaker, romantic, gentler sex was being replaced with stronger figures). The problem for women was that they had to show a face to society, while the Victorian norms that still pervaded the early 20th century were questioned. This is represented by Clarissa Dalloway in the mirror scenes, in Woolf's Mrs. Dalloway. There is conflict with this development of the feminine in Eliot's The Wasteland, which sees it as a transition from the glory of gender in the Victorian era, to the sordidness of feminism and modernity. In both texts the psychological stress caused by change is present, although in different ways. Thus Mrs Dalloway represents modernism's challenge to the weak, feminine personality perpetrated by Victorian beliefs and replaced it with a more rational yet subversive female personality, which formed the emerging faith of early feminism. In contrast, The Wasteland represents a challenge to this development, because it is replacing the glory of Victorian England with the sordidness of modernism. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay Clarissa in Mrs. Dalloway is expected to represent the perfect ladylike woman, as required by her position in society. This means that Clarissa is described as “the model of certain human virtues: strength of character, intuitive genius, affirmation of life, transcendence of patriarchal social arrangements, empathy with the dead, unifier of society” (Bell, page 94). This is her outward appearance, meaning that an overly simplistic reading of the text will not capture the feminist undertones that Woolf has in the text (Bell, page 94). There are traditional male figures, which are not seen in Clarissa's husband; rather, Walsh and Smith's characters provide this juxtaposition. Richter (2010) identifies that Walsh and Smith “function as seismographs recording the advent of modernity; Despite their relative…and catastrophic inability to come to terms with the contradictory social roles with which they confront, they, rather than the uncompromising defenders of power, patriarchy and empire, represent a vital, if precarious, embodiment of masculinity modern” (page 158). ). This means that the traditional patriarchal model of the Victorian gentleman is not represented in these figures. Rather, there is the modern masculine (i.e. there is an overt display of masculinity, but this hides the reality that the masculine is being challenged by the feminine, as power relations are changing) (Richter, page 158). Indeed, the challenge of the masculine can be glimpsed in the private thoughts of Clarissa (i.e. of the Clarissa who is reflected in the mirror). Her husband can be seen as the traditional patriarchal character, which is seen in the fact that Clarissa introduces him as Wickham (Mrs. Dalloway, page 66). The traditional, handsome and masculine figure of Richard, who wants to maintain and protect his wife, is seen in the appropriate actions. This includes giving gifts, which doesn't happen frequently; rather, when it is expected. As Woolf writes: “he never gave Clarissa any presents except a two-o braceletthree years ago, which had not been successful. He never wore it. It pained him to remember that she never wore it” (Mrs. Dalloway, page 124). The implication is that Richard buys her the appropriate and adequate number of gifts to show Victorian reserved affection, but Clarissanon reciprocates this act with appropriate appreciation (Mrs. Dalloway, page 124). This illustrates the tension of Clarissa's character because she may outwardly seem to fit into society. However, personal interactions show that she is not receptive to patriarchal expectations; rather, he wants to free himself from the yoke and these expectations. The result of this relationship is that Richard feels like a failure because his display of proper patriarchal masculinity is challenged by Clarissa's improper reciprocation (Halberstam, page 364). This is because Clarissa's actions can be seen as increasingly masculine in private relationships, which comes through in her interactions more generally. The so-called masculine traits have given rise to comments that Clarissa is cold. The text states that: “there was always something cold about Clarissa, he thought. She has always had, even as a girl, a sort of shyness, which in middle age becomes conventionality..." (Mrs. Dalloway, page 36). The problem is that she does not relate to others as a woman should (i.e. Clarissa does not relate to individuals with feminine charm; instead, she is reserved and measured in a way that would be described as masculine). However, these traits are identified as “shy,” “tough,” “arrogant,” and “prudent” (Mrs. Dalloway, page 44). These words are negative because Clarissa's personality does not fit the face a woman should show. Indeed, there are more negative descriptions from males in the book, which include “the death of the soul” (Mrs. Dalloway, page 44); “evil,” “coldness,” and “wooden” (Mrs. Dalloway, page 45). These characteristics are strong and powerful because the individual resists pressure (i.e. very masculine). The terms devilish and scoundrel are considered desirable qualities in men, by some because these terms can be seen as charming masculinity (i.e. the Mr. Wickham of the book who would attract femininity and frivolity (Corwin, page 205). The problem is that these terms are applied to Clarissa who is supposed to be Richard's Lydia because she is M. Wickham. Clarissa is not as flashy or charming as Richard. Furthermore, she is seen as shy, as well as "iron" and "stiff to the bone". dorsal” (Mrs. Dalloway, page 48). These are qualities of the true gentleman (i.e. Mr. Darcy) because a surly, rude and awkward character is part of this exemplification However, when applied to a woman, it is an application negative, especially when the term states that Clarissa is “cold as a popsicle” (Mrs. Dalloway, page 60). The so-called masculinity and dominant characteristics, which have been hidden by her reserve; they begin to become more and more noticeable This is especially true when she reflects in the mirror because she believes her body is ridiculous (Mrs. Dalloway, page 27). The logic of this request is that she is more focused and in control than the expected woman. When Clarissa looks in the mirror, she is faced with the tension of who she is (a dominant woman with so-called masculine qualities). As the text identifies: “he pursed his lips when he looked in the mirror. It was to give her a point in the face. This was his view; like a dart; defined" (Mrs. Dalloway, page 27). Her counterpoint is Sally, who is described as "a striking beauty, of the kind he admired most, dark, large-eyed, with that quality which, since 'had achieved it herself, she always envied' (Mrs Dalloway,page 24). There are two factors to identify in this quote. The first is that Sally is the type of woman expected in society, which Clarissa should compensate with more femininity because she does not have the female form. However, he acts with more masculinity, which is further revealed in the mirror (Butler, page 9). Secondly there is the subversion of identity, through the mirror because Clarissa identifies how she does not fit into the cultural concept of femininity; but she turns out to be a more powerful and modern woman (i.e. she is the dominant character, even if her husband doesn't like it) (Booth, page 113). The subversion of identity in Mrs. Dalloway is part of the feminist message because the principle that women and men exemplify certain characteristics is wrong. The expected characteristics are not natural, but a product of society. This is why the characters from Austen's Pride and Prejudice are used because it is assumed that women are expected to play a certain role. The reality is that Clarissa is torn between these beliefs and being dominant; the mirror allows her to reflect on this and bring about empowerment, in a subversive way, that challenges the expected control of men (Booth, page 113). However, the application of non-feminine terms is illustrative of the fact that society seeks to control and scapegoat her, through her lack of good looks (and therefore lack of inner beauty) (Steinberg, pages 25-26 ). Overall, Woolf sees Clarissa's masculinity as a positive development because it challenges social norms and the limitation of women to outer beauty, reflecting inner beauty (unless compensated by greater femininity (Steinberg, page 26). message feminist in Mrs Dalloway who challenges traditional images of the Victorian woman, with a more powerful character who can hold her own in society (although sometimes conflicted due to traditional beliefs) modern woman does not have to be tied to her appearance and to her accentuated femininity. Eliot in The Wasteland makes a juxtaposition between the glorious past and the sordid present, which indicates that changes in society are not a positive development states: "But behind me now and then I hear the sound of horns and engines, who will take Sweeney to Mrs. Porter in the spring" (The Wasteland, lines 196-198). taking Sweeney to Mrs. Porter is an example of the traditional roles of men and women. Additionally, Mrs. Porter illustrates traditional femininity, as the poem states: “Or the moon shone bright on Mrs. Porter, and her daughter washed her feet in soda water” (The Wasteland, lines 199-201). This beautiful image contrasts with the brutality and sordidness of modernity, which have changed the roles of men and women. Eliot wants to regain traditional values. However, as Booth identifies, in The Wasteland there is a discussion of how greatness and power are moved from an exclusively male realm, to include women (page 231). The problem is that Eliot does not see this as a positive development because a glorious past is lost, where there are values ​​and beauty. The sordidness described in The Wasteland is linked to the emancipation of women (and in particular their sexuality). As Eliot states: “She turns and gazes for a moment in the mirror, scarcely conscious of her departed lover; Her brain lets pass a half-formed thought: "Well, now it's done: and I'm glad it's over" (The Wasteland, lines 249-252) This is a negative view of the woman who does not respect the glory of marriage and does not faints after her lover (i.e. sees meeting with her lover as a chore and not a celebration of love). This is an example of his,. 3-25.