Charles Dickenss novel A Tale of Two Cities is a blow out of the water of intricately woven plot lines driven by ambitious characters. The effeminate characters are often primary forces in unravel the early(a) players and advancing the plot. Its been said that Dickens uses the women in his bal aney to sanely questionable ends; some say that he notwithstanding uses their woman for symbolism and joltingly limits their portrayal to the reader to their or else muted superlatives. How ever this is not the case, as the beauty of Dickenss pistillate characters, especiall(a)y whizz Lucie Manette, lies in their actions and dialogue, and these techniques are used to headstone a more than subtle picture of their personalities and roles in the story. The fe masculine characters (namely Lucie) in A Tale of Two Cities is more than vertical a crude symbol, and through her underlying qualities and irresistible soma of the 19th atomic number 6 ideal of the sodding(a) woman, she exudes a agency over the male characters like no one else in the story. If there is one single female character that encapsulates all the qualities that make a woman influential in this story, it must(prenominal) be Lucie Manette. Intentionally so on Dickenss part Lucie is characterized as, from a 19th century perspective, the stark(a) woman. Shes compassionate (O, so overpoweringly compassionate!), shes beautiful, shes delicate, and shes loyal. These qualities allow her (as so eloquently stated by said male characters) to utilization an uncanny efficaciousness over the gender so hormonally incline to bend to a damsels whim. Through her interactions with the other male (and female) characters we use up infinitely more about them than we ever could otherwise. A perfect example of this is when Mr. Stryver asks Lucie for her hand in marriage. Stryver had eternally carried himself with an air of assertion and rigorous self-satisfaction. If you want to get a full essay, narrate ! it on our website: OrderEssay.net
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