Introduction
By comparing “Don Firriulieddu” and “Man-snake and the Bridegroom,” it comes into focus that there is a hidden set of images denoting womanly submission and obedience to manhood, and she, in turn, is victimized. Both of these fables portray the fact that there exists a contrast between the love of family exhibited by the two brothers uniting to save the protagonist and which of male friendships appears to be the more desirable option.
Thesis: In my analysis of “Don Firriulieddu” and “Man-snake and the Bridegroom,” this paper seeks to reveal the signification that characterizes a much votive submission of women by men and, at the same time, shows how the love for one’s kin can be redeeming. Parading these interpretations in a wider forum of fairytale scholars and gender dynamics in support of this research reveals how folklore can help in combating the biases that pander to patriarchal societies.
Body Paragraphs
Symbolism of Eager Submission
The symbols of eagerness to submit are traced in both “Sanshu the Great” and “The Man-snake and the Bridesmen,” which demonstrates that women had to stick to dominant norms in the female role. At the same time, female protagonists do not even recoil from the fact that monstrous men and some accept the society that they need to change but become the way they are. Therefore, it is no surprise that “her eagerness” is one of the most prominent examples of a patriarchal culture that permits girls to focus on marriage and submission instead of self-empowerment (Panttaja 7). For example, at the beginning of “Don Friulieddu,” Rosina hastily marries the main character in spite of her brothers’ warnings, which shows that she is willing to fit into society’s norms even if that means ignoring her honest intentions. For example, all kinds of brides in the “Man-snake and the Bridegroom” tale may marry the hideous man-snake because of their wealth and social position. Such representations can be quite demonstrative of how the convention of women in society says that they should give priority to a man’s companionship over freedom of personal will.
The scrutiny of the households in both fables also accents primary topics of uncontrollable patriarchy and a woman’s suppression. In both stories, the forbidden chambers stand heavily as a symbolic meaning of patriarchal power, and the dangers and options of women getting in them are repressed (Haase 387) as in “Don Firriulieddu,” Rosina’s chamber prohibits her from acting as long as her lord’s acting is domineering. Also, in “The man-snake-bride,” she is not able to disobey, and she enters the destructor’s room. It explains her submission to her monstrous husband. These household rooms in which women spend the most time have become the physiology of patriarchal oppression, aiming to show the limits of gender roles that people have to accept.
Dichotomy of Love: Familial vs. Romantic
The two lines are contrasted in the aspect of the mirror with love on the side of the family and romantic love. Moreover, the role of brothers as saviors is a process that should not be forgotten because it implies the loving and faithful (as opposed to ruthless and self-seeking) nature of male suitors. Throughout the stories, these brothers embody the family ties that break through the prejudicial constraints (Zipes 15). They do not care about society and the pressure that has been set upon them. They have their values and beliefs that are evidenced throughout these stories. As an example, in “Don Firulliuddu,” Rosina’s brothers come in to save her, clearly signaling their inability to accept any form of wrongdoing and protection that they are ready to offer. Just like the brother’s intervention in “Brutal-animal and the Bridesmaid,” who helps the bride to escape the brutish husband, the warmth of familial love can conquer all obstacles.
Societal Critique Through Symbolism
The symbols of both tragedies, “Don Firriulieddi” and “Man-snake and the Bridegroom Prologue,” powerfully show the heart of society where the power is concentrated. Through the visual treatment of monstrous husbands, patriarchy is conveyed physically and becomes the symbolic image of societal demands of male dominance and rule over women. Similarly, the main female characters are a symbol of a historical struggle to subdue and try to disobey women. Such a symbol resting on his shoulder visualizes the lopsided power relations that apply in patriarchal societies and the consequence that women are frequently ambushed by their positions within those societies.
Despite the gloomy outcomes of the stories, there are such stormy moments that distort the scenes and tend to support the female characters. The protagonist’s resistance and the directing toward liberation through the blood ties with their family symbolize the possibility for women to struggle and to recover their ability to regain their sovereignty, which oppressive systems sought to weaken. Such narratives transmit a message of hope and resilience, inspiring women to demonstrate that they are capable of shaking the obstacles on their way, as well as rejecting the system acting as a suppressive force.
Conclusion
In the end, “Don Firruelieddu” and “Man-snake and the bridBridegroomlp bring forth deep and fundamental symbols utilized within fairy tales. The oscillating gender dynamics and power relations are the key issues. The way these ancient writers boldly depict all the submissiveness expected from women by men and the trade-off between family and romantic love makes a clear picture of the intricate interplay between the bound and free will of man. By using this, we discover that in the folklore about traditional narratives, their subversive nature manifests in the ideas that challenge them and take us to alternative stories. These new narratives offer the possibility to shift the perception of the ages of tales. With every passage of time, as the analysts and scholars delve deeper into the nuances of these tales, we are once again shown that the resounding theme of fairy tales is time enduring and its influence on cultural perspectives as well as overturning established power structures.
References
Haase, Donald. “Yours, mine, or ours? Perrault, the Brothers Grimm, and the ownership of fairy tales.” Merveilles & contes (1993): 383-402.https://hcommons.org/deposits/download/hc:14080/CONTENT/haase_yours_merveilles_1993.pdf/
Panttaja, Elisabeth. “Making Reality Evident: Feminine Disempowerment and Reempowerment in Two Grimm’s Fairytales.” (1988).https://scholarworks.iu.edu/dspace/bitstream/handle/2022/2045/21(2)%20166-180.pdf?sequence=1
Zipes, Jack. Breaking the magic spell: Radical theories of folk and fairy tales. University Press of Kentucky, 2002.https://core.ac.uk/download/pdf/232572086.pdf
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