Poor Things Symbols, Allegory and Motifs

Poor Things Symbols, Allegory and Motifs

Female independence (Motif)

The narrative takes the form of a satire on the politics and social dynamics of the Victorian era. It focuses on the male desires which contradict with the emancipation of the woman. In essence, the patriarchal perception of the woman is rampant through the male characters in the tale. Initially, Bella Baxter is ‘molded’ as a repressed woman but gains awareness and aptitude while learning about the social injustice.

Marriage equality (Motif)

The marriage between McCandless and Bella has opposing outlooks in the public and the private sphere. The husband’s account of their marital life is perceived as facts by the patriarchal society. Even though Bella is an outspoken feminist the general public does not believe her rebuttal of the account. Thus, the different parts of the narrative correspond to highlight the matter of marriage equality and gender roles.

Frankenstein’s Monster (Allegory)

The narrative is reminiscent of Mary Shelley’s classic tale of a human prototype brought back to life by a scientist. The author uses the allegory of the monster to make a commentary on the gender dynamics of Victorianism. In this case, Bella is the creation made from the brain of her fetus bringing her back to life after drowning. Her mental acuity develops eventually as she grasps the issues in the society that impede women. Thus, her tale of the transition is allegorical to the tale of Frankenstein’s monster.

Bella Baxter (Symbol)

The character embodies the strong female voice in a patriarchal society that disregards her opinion. The novel is meant to be a mockery of the Victorian society and its social values. Therefore Bella symbolizes the paradigm shift that took place as the women’s movement rose. Her creation and revivification is an analogy to the Victorian women who were repressed to fit in the man’s world. Bella developing into a self-proclaimed feminist symbolizes the gradual emancipation of the woman.

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