2020 School Magazine

But don’t get your hopes up. Women are bound by dependency on others, forcing agency out of reach. Be it Jane’s financial reliance on Rochester, or Eilis’ emotional attachment to Tony, independence appears rarer than a Golden Ticket. After discovering that lying snake Rochester has a wife, Jane leaves Thornfield and finds herself destitute. Helpless and penniless, Jane confesses she’s ‘so sick, so weak… instinct kept [her] roaming for food and shelter’. While now entirely independent, it’s come at a cost too great to afford. Jane’s reliance on her primal ‘instincts’ to stay alive give credence to Bronte’s perspective that she cannot survive alone—independence isn’t all sunshine, lollipops and rainbows. We agree that whilst Jane’s decision to be independent appears courageous, realistically Rochester’s bankroll sustains her life. In light of her plight, Jane’s agency remains a mere pipedream. In comparison, Eilis earns her own living, but her emotional wellbeing is determined by others. Waiting for Tony after night class, Eilis’ bounce from sadness to happiness is no coincidence. A mid-range, behind shot of Eilis at the base of the steps portrays her as dejected and isolated—a little woman. Like every typical fairy tale princess, Eilis needs a ‘prince’ to save her. Tony’s toxic influence over Eilis is exposed when he dashes to her rescue, a close up exaggerating her facial expression, which magically changes from frown to smile. Eilis’ decision to willingly sacrifice her happiness—now wrapped around Tony’s finger—condemns her dependence as a disappointing surrender of self- determination. In fact, Eilis’ female agency is no more real than Cinderella. In 2020, we face the same, tired expectation of female dependence. Childcare is becoming ever-more expensive, with increasing reliance on others to care for our children. Our government is letting women down! Whilst the ‘strong, independent’ working mum is a popular bandwagon for politicians to jump on at election time, this is almost impossible to achieve. Realistically, such multitasking requires a superhuman effort—only viable in the fantastical minds of our politicians. It’s clear: women are forced to be dependent to survive, and in this instance female agency is simply an illusion. Worse still, marriage limits women’s control so agency cannot exist. Mr Rochester and Tony both ensnare their little women in marriage’s binding contract. Discussing their marriage, Rochester describes his desire to adorn Jane in jewels. He boasts he’ll ‘put the diamond chain around [Jane’s] neck… attire [his] Jane in satin’. The diamond chain symbolises Jane’s collar and leash. Such imagery of bondage and the possessive word ‘my’ ask us to view this twisted marriage as a transaction of ownership and control; Rochester the master, Jane his slave. Who benefits from keeping women little? Powerful men. This isn’t the Garden of Eden romance Jane fantasised! It would be wrong not to criticise this inauthentic marriage which leaves Jane powerless: female agency is written out of this partnership’s contract. Likewise, Tony uses marriage to trap Eilis at her weakest hour. After Rose passes away, Tony begs Eilis to marry him, so she’s obliged to return to Brooklyn. The dark night-time setting of a deserted, exposed park emphasises Eilis’ vulnerability. The proposal has connotations of a dodgy night deal, a request Tony knows is immoral given Eilis’ fragile emotional state. Isn’t the way he strokes her head so affectionate? (cue gagging!) Realistically, this possessive gesture denotes Tony’s unspoken power over Eilis (subtler than Billy Jo Saunders’ controversial wife-bashing advice). Crowley’s perspective is clear: Tony’s forceful proposal is an intentional mind game. His prize? Unconditional authority over Eilis. As such, we ardently condemn this marriage which is a cruel trap; with just a nod, Eilis’ agentic potential has dissipated into pixie dust. Sadly, many women are still constrained by marriage; physically, mentally and financially. Recently, an Australian family was subjected to incredibly saddening domestic violence when their car was set alight by an estranged husband and father. The lives of three young children and their mother were taken by this merciless man, who stalked and manipulated them through the inescapable binding control of marriage. Though it may appear marriage is founded upon an egalitarian pairing of love, female agency can’t exist where there’s such difference in power: females small, men large and in charge. Throughout this investigation, we’ve disclosed that whilst women continue to voice their minds, in most aspects of life, female agency truly is a figment of our imaginations. The blurred definition of reality has become clear through these texts, showing us for now, female agency belongs in the realm of fantasy. Forthwith, we must stop women from downplaying their achievements and selling themselves short: instead free them from society’s restraints so our young girls can grow into agentic woman. Let’s make this a reality—not a dream.

BRISBANE GIRLS GRAMMAR SCHOOL 2020 | 71