Comparing Death in “The Tree” and The Vegetarian

Both Han Kang and Anne Finch present the idea of impending death that cannot be avoided, however, both authors present the ideas in different ways as they are using different forms of writing to do so. In addition, both Kang and Finch use death as a way to look back and reflect on the past that has led up to the present. In Kang’s The Vegetarian, specifically Part 3: Flaming Trees, she uses Yeong-hye’s stubbornness, from her mental condition, to eventually make In-hye see that death is not necessarily such a bad thing, and that perspective is something important to consider when death is in discussion, however, this perspective also comes into play regarding the loved ones of those that are dying. Kang uses the relationship between In-hye and Yeong-hye in Flaming Trees to show In-hye’s inability to understand Yeong-hye’s seemingly calm notion towards her own death. On the other hand, Anne Finch paints death as something that is sacred, perhaps something that is just as important as one’s birth, and therefore should be celebrated for all of its achievements in life, no matter how seemingly great or small they may appear to be, but also believes in a sort of karmic aspect to it. Finch carefully employs a rhyme scheme that highlights words that depict her view of death as being honorable and a generally positive experience that is a part in all life.

Throughout Flaming Trees in The Vegetarian, from as early as the third page in, there is this notion from both the hospital staff and In-hye that Yeong-hye needs saving, as both parties work endlessly running after Yeong-hye trying to get her back on her feet. However, no one ever stops and asks what it is Yeong-hye wants, exactly. Everybody just makes the assumption that whatever she says is invalid because she is mentally ill, as she goes on being ignored throughout even Part 1 and Part 2 in the novel (The Vegetarian and Mongolian Mark, respectively). In The Vegetarian, her husband Mr. Cheong pays no attention to Yeong-hye unless it affects his image and just ignores her issue when she tries to speak up about it, “Haven’t you even ironed my white shirt?” (Kang 18) he says after she tells him that she had a dream. This is just an example of the type of response she gets when she tries to explain what she is going through. In Mongolian Mark, while In-hye’s husband does inquire about her condition, “Why is it you don’t eat meat? I’ve always wondered, but somehow I couldn’t ask.” (98), he only asks because he is sexually fascinated with her “… he said, fighting all the time to suppress the sexual images that were running through his head.” (98). In addition, if he truly was concerned, he would have tried to help her out after he had been sexually involved with her. Nobody until In-hye in Flaming Trees even tries to truly understand her condition out of concern for her safety or well-being, however, by this point, it is too late as she is too far gone. It is only when she is “hunched in a corner of a room” (133) that she hints at what she wants. She says, “It’s okay now” (133). In-hye could not tell what Yeong-hye meant here, “It wasn’t clear who these words were intended to comfort; the boy or herself.” (133), but it is straightforward that she is not only not trying to comfort herself or the boy, but she is trying to bring peace to In-hye. In-hye has been worrying about her for so long, and as far as the text is concerned, she is the only one who does at this point, “her parents… didn’t make any further effort to visit Yeong-hye” (142). Yeong-hye embraces the idea of death or is at least unopposed to it, as she resists medical help, “[Yeong-hye’s] also been trying to pull the IV needle out” (150) and later asks In-hye, “Why, is it such a bad thing to die?” (162). What Kang is getting at here is that death should not be viewed as such a woeful thing, universally. However, death is also not just a problem that affects one person, as it deeply affects the loved ones that surround the dying. Really, she is saying that not everybody sees things the same way, using mental illness as an extreme, but effective example. Her point is further supported by a quote from In-hye “It was a fact. She had never lived. Even as a child, as far back as she could remember, she had done nothing but endure.” (166). What is death to someone who has never experienced life or someone who is dissatisfied with the life they live. To people like this, death may seem like something new, like something that brings hope, or a solution to all of one’s problems. When the only thing that anyone has done in their life is “endured”, then death may seem like the only answer to making them feel like they may find peace. Why is it so irrational that a young person that has suffered so much throughout her life, wishes that life was more simple? Why is it crazy that this girl who has suffered yearns for a life with less conflict, like the life of a plant? This is how Yeong-hye feels. Finch shares a similar view about death with Kang in that death is not necessarily bad and can be freeing, but looks at it more positively.

In “The Tree,” Anne Finch uses certain words that tell of a tree’s good deeds toward its guests and visitors. The simple AABB rhyme scheme that Finch constructs throughout the poem not only sets a heavenly rhythm for the poem, but emphasizes key words that display her assertion that the tree deserves a good death. The opening two lines end in the rhyme “Shade” (Finch 1) and “made” (2). This rhyme in context, preceding the third line , “Sure, some Return is due from me” (3), shows that this tree graciously gave its shade to the narrator and did not even expect a “return” to be made to it. Finch immediately opens up the poem with one of the many examples of the tree’s selfless acts to both set the tone for the rest of the poem and to bolster the tree’s identity as having a kind nature. Finch continues the rhyme scheme with “give” (5) and “receive” (6), “stay” (7) and “away” (8), and “freed” (11) and “Reed” (12). In the lines, “When thou to Birds do’st Shelter give,/ Thou Musick do’st from them receive;” (5, 6) Finch further sets up the idea that this tree is selfless, continuing to build this tree up so that she may not only justify that it is deserving of the honorable death that it later gets, but prove to the audience that it is deserving of the privilege to die so respectably. This tree’s relationship with the birds is similar to its relationship with the narrator in the fact that the tree just gives without intending to gain from the situation. Finch’s lines “If Travellers beneath thee stay,/ Till Storms have worn themselves away,” (7, 8) give the reader yet another example of the tree’s behavior, showing that this is the tree’s normal and natural behavior. With the lines, “The Shepherd here, from Scorching freed,/ Tunes to thy dancing Leaves his Reed;” (11, 12), Finch again shows the selflessness of the tree, but also shows the magnitude of the deeds that it does for its guests. Finch uses the word “Scorching” in order to embellish how hot it is, thus making it seem like the tree is saving lives here by offering its “cool Shadows” (4). The line, “‘Till that large Stock of Sap is spent” (21) speaks volumes as it shows that this tree is dedicated to service and will live to serve as long as it has the power to keep on doing so. The tree finds happiness in the song that the birds sing or the company of the travelers and shepherds; it does not need anything other than that. Finch uses all of these examples to really convince the reader that the tree deserves the death it will receive, as one final gift to it.

Finch changes direction from telling of the tree’s deeds and focuses on it’s death as she progresses through the poem. In the rhyme, in particular, words like “strive” (23) and “alive” (24), “wait” (17) and “Fate” (18), “attend” (25) and “End” (26), and “burn” (31) and “Urn” (32). In the lines, “‘Till the fierce Winds, that vainly strive/ To shock they Greatness whilst alive,” (23, 24), Finch is trying to say that the tree is surprised to find that its time to pass on has come. The negative force that is time, hits the tree like a brick wall and shocks it, now that it knows it will not be able to serve anyone any longer. However, it does not fight its destiny, but instead will pass with grace. Finch’s lines, “No; let this Wish upon thee wait, And still to flourish be thy Fate,” (17, 18) tell the reader that the narrator has something special in store for the tree that he was unable to show his gratitude toward. Here is where Finch essentially implants the idea that the tree will receive a gift that it deserves in its passing on, as its “fate” will be “flourished”. This foreshadowing is a somewhat subtle tool she uses to start to get her point across. Finch sets up the situation so the narrator knows the kind of funeral/death the tree is deserving of. Finch, in the lines, “Shall on thy lifeless Hour attend,/ Prevent the Axe, and grace thy End;” (25, 26), at this point really punches in the idea that she laid the groundwork for almost ten lines ago. She again, more concretely says that the tree deserves a noble and appropriate death, as it had lived to serve. For this tree, simply being cut down is not good enough; sure, the tree would still be of use to nature, however it seems cruel in a way. The way Finch chooses the tree to die seems a lot more appropriate. The rhyming lines, “But shalt, like ancient Heroes, burn,/ And some bright Hearth be made thy Urn.” (31, 32). Here, Finch says that a death by fire seems a pure death, even saying that the tree would burn “like ancient Heroes”. Finch would agree that the tree lived like a hero, so it therefore deserved to die as one. In addition, burning the tree feels more personal a death than just chopping it down, as it could be seen as both the tree’s death and a sort of funeral service all in one. Instead of being cut up and sent away, it is able to serve one final time, as a “Hearth”, generating warmth for its guests in its last moments. Not only this, but by being made a hearth, the tree can die in the place it has spent its whole life; it is home. In general, the death seems more humane, as humans are cremated and are given funerals, as well. Both “The Tree” and The Vegetarian offer a unique perspective on death, both of which have to do with reflecting on the past.

In both The Vegetarian and “The Tree”, death is seen as something that spurs reflection and remembrance. In Flaming Trees, In-hye is in denial about Yeong-hye’s condition, hoping that it still may get better, despite the fact that it has only gotten worse in the few years that they have been trying to deal with it. Within the section of the novel, In-hye goes through the stages of grief and she reflects as a part of the bargaining stage. The hypothetical questions linger throughout for In-hye as she wonders if “there was something she could have done to prevent it?” (Kang 142). She thinks back to many events in both the recent past and their childhood wondering if she could have stopped In-hye from becoming so troubled. This is In-hye bargaining, wishing she could go back to the past and just fix things before they broke. She traces back all of the events in Parts 1 and 2, from the dinner with their parents to the art project her husband had been working on. As much as In-hye probably would not admit that Yeong-hye will die, especially in the early part of Flaming Trees, she knows deep down that Yeong-hye cannot possibly recover. She is only fighting so hard because that is what we do for the ones we love, despite the seemingly insurmountable odds. Looking in from the outside, it would be pretty clear that Yeong-hye would not recover, but as an insider, hope takes over and warps perceptions. Despite In-hye’s efforts to keep Yeong-hye alive, Kang knows In-hye truly knows that Yeong-hye cannot survive, which is why Kang already has In-hye going through the grieving cycle while Yeong-hye lives.

Reflection is the whole basis for the Finch’s poem, “The Tree”. With the poem’s simple and all-encompassing title, “The Tree”, it is perfect for an elegy. This poem starts out outlining the tree’s wonderful services, such as providing shade for the birds, and shelter for the travelers, and so on and then takes a sharp turn and tells of the tree’s glorious and fitting death. The narrator is reflecting on the events in the tree’s life and then quickly gets to the tree’s death. “The Tree” is a summation of this tree’s highlights, as narrator reflects upon the fact that he has only taken from the tree, “Shall I then only Silent be,/ And no Return be made by me?” (Finch 15,16). However, the narrator finds in his/her reflection that he/she can really only do one thing for the tree this time around. The narrator can give the tree a death that it is deserving of, “Prevent the Axe. and grace thy End;” (26). This is done because Finch believes that death is not necessarily a bad thing if done the right way. And in order to send somebody off in the appropriate manner, their life has to be reflected upon to know what would be appropriate. This tree is deserving of a noble death only because of the services it has done for its many guests in its life, or for as long as the narrator has known the tree.

Works Cited

Finch, Anne. “The Tree.” Selected Poems. New York: Frederick Ungar, 1979. 152-53. Print.

Kang, Han. The Vegetarian. Trans. Deborah Smith. N.p.: Portobello, 2015. Print.

Comparison of Anne Finch’s ‘To The Nightingale’ and Samuel Coleridge’s ‘To The Nightingale’

Anne Finch’s ‘To The Nightingale’ and Samuel Coleridge’s identically titled poem both display a pastoral appreciation of nature. The two poems are both conversation poems. This was a particularly popular form in the Romantic Period, and used conversational language to discuss higher themes of nature and morality. The protagonists address the nightingale, and use it as a symbol to illustrate the human soul. Despite their similarity in theme, the two poems differ greatly in content. Finch’s narrator sees the bird as a free soul in comparison to her own human lack of inspiration, whereas Coleridge celebrates the human form.

Finch and Coleridge’s poems display similarities and differences in their speaker, especially in the manner that the bird is addressed. Both speakers display appreciation for nature and the joy it brings. The speaker in Finch’s poem gives the Nightingale identity through an important role in the changing of seasons, urging the Nightingale to: ‘[exert] Thy Voice, Sweet Harbinger of Spring!’. The use of the capitalized ‘Harbinger’ signals the nightingale’s status: it announces the beginning of another season. It is also particularly poignant that the season is spring, as the song indicates a new beginning, with the exclamation mark reflecting the vibrancy of the Spring months. Additionally, Finch appears to personify the nightingale by labeling its bird call as a ‘voice’, something that usually one would assume to be human. This elevates the bird’s status further, and perhaps also presents a sense of envy from the speaker. They view the nightingale as free from human inspiration, and wish that they themselves could embody such traits. Therefore, Finch’s speaker shows their reverence for the bird by elevating it from animal to human, and attributing it this important task as the announcer of Spring.

In Coleridge’s poem, he also gives the Nightingale an ethereal label, ‘Minstrel of the Moon’, implying the bird has power over the ‘full-orb’d Queen.’ His construction of the nightingale seems to encompass the sublime; it has been raised up out of everyday animal life to a higher cause, as if it is controlling aspects of nature. Coleridge uses alliteration to emphasize the nightingale’s label, attributing a poetic importance to the animal. Similarly to Finch, Coleridge presents an anthropomorphic image, presenting the nightingale as a ‘minstrel’, an old-fashioned medieval singer or musician. This suggests that the nightingale almost serenades the natural world, placing it in a position of power. It is also interesting to consider the idea of a musician within a conversation poem. Despite this title, it is only the speaker who offers conversation. The nightingale is unable to offer it’s own words, yet is given an identity and importance through how the speaker observes it, and how Coleridge describes it. Throughout both poems, Coleridge and Finch portray the nightingale and its song as melancholy. Later on in the poem, Coleridge’s speaker ‘ceases to listen’ to the song, discrediting any importance he earlier attributed to the nightingale as a musician. Therefore, the identity of the nightingale is decided in each poem through how the speaker perceives it, raising interesting questions on the nature of perception and truth, a key topic in the Romantic Period.

Throughout both poems, the typical pastoral symbol of the nightingale is used to present a comparison to human happiness. Finch focuses on the happiness of the bird to further emphasize the frustration of the poet: And still th’ unhappy Poet’s Breast, Like thine, when best he sings, is plac’d against a Thorn. Finch’s speaker compares herself directly to the bird, comparing the ‘Poet’s Breast’ to that of the nightingale; it is interesting that the poet lacks academic inspiration but the problem appears in her chest. This suggests perhaps that writing comes from the heart, and not the mind. It also implies an atmosphere of the bittersweet, as the nightingale is free to sin but is subject to the sharp edge of a thorn, much like Finch is subject to the criticism of her own society. Additionally, this frustration within the poem is extremely relevant of Finch’s own frustrations as a poet in the seventeenth century. She criticized Alexander Pope’s Rape of the Lock that openly undermined the ability of a woman’s wit. This overtly suggests that Finch could have been the ‘unhappy Poet’, caged through not only her lack of inspiration, but the social conditions of her generation that assume women are incapable of literature or art. This is almost ironic in a conversation poem, where the nightingale is used merely as a voice to illustrate the narrator’s anxieties.

Coleridge presents the opposite to Finch, placing humanity in an elevated state of happiness in comparison to the Nightingale. It is interesting to consider that the influence of Coleridge’s love, who makes the nightingale’s song a mockery of her own sweetness:

…not so sweet as is the voice of her,

My Sara- best beloved of human kind!

The personal pronoun ‘my’ indicates possessiveness over her beauty, whilst the dash acts as a poetic pause, as if Coleridge is temporarily distracted by his intense attraction. The typical values of Romantic poetry is to describe the joy of nature, however the speaker extends this to celebrate also human life. Coleridge specifies Sara as the ‘best beloved of human kind’, elevating her over the rest of humanity. This perhaps suggests that only the almost ethereal can sound sweeter than the nightingale’s voice. In terms of context, there is an ambiguity surrounding the female figure, even as she is named. Coleridge was married to Sara Fricker, yet also fell in love with Sara Hutchinson, Wordsworth’s future sister-in-law. This poem could therefore have two meanings: it could either be a sweet verse for his beloved wife, or it could be a declaration of unrequited love, only possible through the safe enclosures of words.

Thus far, the content and language of each poem has been examined. However, both poems also convey meaning through their structure and form. Finch separates her poem in to four stanzas. This is perhaps a physical representation of the four seasons, of which the content also reflects. The first stanza, which would represent Spring, is full of joyous descriptors and phrases such as ‘sweet’, ‘praise’ and ‘song’. In comparison, the fourth stanza, that would represent winter, is incredibly melancholy and representative of the long nights and tumultuous weather of the later months. Finch’s structure could also have used these stanzas to balance the comparison of the natural elements with humanity. The entirety of the first stanza is dedicated to the nightingale, whilst the second is based on the speaker’s frustration over lack of imagination. This is emphasized by Finch’s choice of rhyme scheme, that features mostly rhyming couplets. This could represent the nightingale and female poet side by side to further show the contrast between the free and the entrapped.

In comparison, Coleridge writes a single stanza in blank verse. This could perhaps suggest the focus on humanity, and not seasons, emphasizing the single human life rather than the four seasons. Whilst there is no apparent rhyme scheme to Coleridge’s To The Nightingale, he employs iambic pentameter, of which gives the poem a lyrical, almost song-like rhythm that reflects the song of the ‘Most musical, most melancholy Bird!’ Finch also uses iambic feet, however this time is less regular as many of the lines are in tri-meter with an extra syllable. Therefore, whilst the lyrical rhythm could represent the nightingale, the irregularity could represent the human aspect in this poem, and their arbitrary nature of her inspiration.

Whilst these poems differ thematically and in content, they both adhere to the pastoralist tradition that was often used in the Romantic period. The pastoralist tradition is usually identified as using nature artificially, in order to simply create a contrast to human suffering. As it has been discussed, Finch’s poem very much adheres to this ideal and sees a freedom and lack of oppression in the nightingale that she can never hope for. Coleridge, however, does not seem to adhere so closely, despite being perhaps the most famous romantic poet. He instead engages with the opposite, and uses the nightingale to illustrate the fortune of humanity. Therefore, despite both poems being within the Romantic tradition, their biggest contrast is in how much they actually each adhere to its conventions.

Mary Collier and Anne Finch Break the “Rules”

Many people were wary of women writers in the eighteenth century. Women were supposed to be seen and not heard, and the fact that women were trying to be writers and voice their opinions broke this “rule”, two women who broke this “rule” with their writing were Mary Collier and Anne Finch. Mary Collier’s “The Woman’s Labour” is a provider of sorts for 18th century working conditions and how gender and authority worked. Anne Finch’s “The Introduction” talks of how society wants women to be small and meek and not have the voice that writers should have. On the other hand Finch’s poem “Letter to Daphnis” defies her opinion of marriage and instead she shows the love that could be seen in her marriage. These women show that women during this time worked harder than men and that they should not be categorized by society, that they can do whatever they put their minds to.

Mary Collier was a washerwoman, so she knew how the life of a laboring woman was. She wrote “The Woman’s Labour” in response to Stephen Duck’s poem “The Thresher’s Labour” because in it Duck criticized women for being lazy workers and also because he didn’t take working women seriously whatsoever. Collier is trying to convey in this poem that both the men and women of the working class are slaves to the upper class and that Duck should admire this instead of separating them based on gender, because in reality women of the working class work a lot harder than men do. In every line of her poem Collier is writing a comeback to Duck, so that he can understand that women workers are not lazy but in fact work as hard as men if not harder. Collier points out at the beginning that Duck would not have been successful if not for a woman’s help “Immortal bard! Thou favorite of the nine!/Enriched by peers, advanced by Caroline” (1-2), Queen Caroline only offered Duck everything she thought he deserved after reading his poem even though it was an insult to working women, so apparently not all women had each other’s back in the eighteenth century. Collier shows that she does not have respect for Duck in her poem by sarcastically (well I read it sarcastically) saying, “And you, great Duck, upon whose happy brow/The Muses seem to fix the garland now” (31-32). This shows that most people believe he is great because he is receiving a garland made by the Muses which indicates some type of honor. Duck should not be given any honor especially when he is trying to make working-class women, like Collier, seem lazy and unfit to be good workers. “Your threshing sooty peas will not come near./All the perfections woman once could boast,/Are quite obscured, and altogether lost” (220-222) shows that women have always had it hard in life and that maybe at one point women were able to show the world what they were made of, but at one point in history things changed and women were no longer able to be boastful like men now are.

At the end of the poem though everything changes, of course Collier is still fighting Duck on his criticism but also shows him in a new light: “So the industrious bees do hourly strive/To bring their loads of honey to the hive;/Their sordid owners always reap the gains,/And poorly recompense their toil and pains” (242-246). These lines bring worker women and worker men together and allows them to see that gender is not the problem in the workplace, but that instead the upper class is the enemy that they should confront. The upper class takes and takes and the lower class gets nothing in return. So Collier shows that in a world where people discriminate because of gender instead both genders should come together as one and fight the real enemy.

Anne Finch possessed a modern understanding of what “gender” is, the social construction of femininity/masculinity, and it shows in her poem “The Introduction”. This poem was actually never published because she was a woman and women were not supposed to be writers. In this poem Finch shows how women are and how society wants them to actually be, she challenges the standard that people have for women and shows them that in reality women can be who they want to be. The poem starts off with “Did I, my lines intend for public view,/How many censures, would their faults pursue” (1-2), which shows that, as a woman, if Finch were to publish this poem many people would have disapproved of her writing. She goes on to explain that it would be because she is a woman: “Alas! A woman that attempts the pen,/Such an intruder on the rights of men” (9-10). This proves that the problem is not in her writing but instead in the fact that writing is not something a woman should even attempt to do because it is a job for men to have, and not for a woman to attempt. She goes on to show that society does not believe they should be writers but should do what women do, “They tell us, we mistake our sex and way;/Good breeding, fashion, dancing, dressing, play/Are the accomplishments we should desire;/To write, or read, or think, or to enquire/Would cloud our beauty, and exhaust our time” (13-17). Men and society believe that women are not very intelligent creatures and that they should do what they do best, and that is to sit down and just look pretty. This society believes that if you offer women something pretty or shiny they’ll blink and be distracted from wanting to do something intelligent, like to read or think.

It’s sad to say that even today some people still believe that women should be seen and not heard. There is hope, Finch says, that one women will rise above the rest and hopefully after one the rest will follow “And to be dull, expected and designed;/And if some one would soar above the rest,/With warmer fancy, and ambition pressed,/So strong, th’ opposing faction still appears” (54-57). This connects to modern day because even nowadays we just need one person to step up and the rest will follow, and once the rest follow change can finally happen in the world and hopefully then society won’t have an idea of what a woman should be like.

With this idea in mind one could think that Finch had extreme views on the relationship between man and wife at the time. Finch had her own beliefs of marriage, how it affected women and believed it was a form of permanent servitude. Even though she believed these things of marriage, her own marriage was one filled with love, her own husband even supported her writing and would transcribe her poems for her. In “A Letter to Daphnis” Finch shows the love she and her husband have in their marriage. The poem begins by saying “This to the crown and blessing of my life,/The much loved husband of a happy wife” (1-2). Since this is a depiction of Finch and her husband’s love it shows that in fact this marriage is one built on love and not one on the enslavement of women. “To him, whose constant passion found the art/To win a stubborn, and ungrateful heart” (3-4) it’s obvious here that Daphnis loves his wife no matter the flaws she may have, and even she admits to her flaws. Even with all the love they have for each other, though, it seems like this love is sort of an obsession “Daphnis I love, Daphnis my thoughts pursue,/Daphnis my hopes, my joys, are bounded all in you” (8-9). Finch’s ideas, in this poem and her poem “Unequal Fetters”, show that she believes that marriage is a form of servitude and even though she claims to have a marriage filled with love these lines make it seem like she is a slave to this love and her husband, especially when she says “[…] are bounded all in you” (9). So in a way this line challenges her poem and even her own marriage because of the thought that the wife in the poem is “bounded” to her husband forever, because in marriage man and wife are bound “until death do them apart”. Even though these lines seem to contradict her ideals Finch goes on to say that she is writing this out of love: “But this from love, not vanity, proceeds” (12), so maybe in the end love does conquer all. Maybe love blinded Finch that she did not notice the fact that was enslaved to love for the rest of her life. In a way she did not to the ideas of servitude like other women have, but instead she lived to serve love to hand over her love on a silver platter to the husband she loved so much.

Throughout history many people did not believe in women writers because there a rule that was technically not there that said that women should be seen and not heard. Two women broke this “rule”, Mary Collier and Anne Finch. Mary Collier believed that gender should not affect how working class women were seen. In her poem “The Woman’s Labour” she fights back against what another poet says about working women being lazy. Collier being a working women did not take this and wrote her poem to fight back against the ideas many people had of working women, and showed that one gender in the working class is not the enemy but instead the enemy is the upper class. Anne Finch believed that women should break free of the way society wants them to be and instead they should be who they want to be. Finch shows this in her work “The Introduction” where she changes the world by saying that she a woman wrote it and that she and other women should not have to conform to society. Finch also had negative views on marriage, but even with the negative views she had she still wrote in “Letter to Daphnis” of the love her and her husband had for one another. At times it seems like she is her own slave to love which would make her a slave to marriage, which goes against her beliefs. Either way both of these women were ahead of their time in trying to make their marks on the world as women writers.