“A Handful of Dust” by Evelyn Waugh and “The Sun Also Rises” by Ernest Hemingway both feature memorable female characters. Lady Brett Ashley, from "The Sun Also Rises" is a strong, independent woman who refuses to commit to any man. Brenda Last, from Evelyn Waugh's “A Handful of Dust,” is an unhappily married woman who has an extramarital affair. Both of these women have a defining characteristic: infidelity. While the unfaithful Brenda and the promiscuous Brett are similar in their flaws, they are also very different characters in their motivations, attitudes, and end results as fallen women. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay Brenda Last's character is slow to develop. We first hear only a few mentions of her when Mrs. Beaver calls her "lovely" (Waugh 6), and "people were crazy about her when she was a girl" (7). Shortly thereafter, Jock refers to Brenda as a “niece” and “devoted wife” (11). Despite these flattering references to Brenda, she later turns out to be much less than a devoted wife, and certainly not lovely to her husband and son. The first subtle but significant hint that Brenda is not what people imagine is that her room is called Guinevere. Although every room in the house bears the Arthurian name, the fact that Brenda's room is named after the queen who ultimately betrays Arthur is no coincidence. And just as Guinevere and Lancelot's relationship is what ultimately causes the fall of Camelot and the destruction of Arthur himself, Brenda's relationship with Beaver will ruin Tony emotionally and financially. Unlike the famous Guinevere, however, Brenda's relationship with Beaver is not rooted in passion, but boredom and selfishness. “Brenda finds no real satisfaction in being a wife and mother. Bored with her marriage to Tony, who is respectable and honorable, but boring, she has an affair with John Beaver, a half-man who lives next to her telephone on the fringes of the fashion world” (Nichols 53). Brenda's discontent with Tony leads her to ignore the consequences of an extramarital affair and she promptly moves to London to be near her lover. Brenda's selfishness is largely due to her immaturity, which is hinted at early in the novel when she admits to her husband "You're much better at being serious than I am" (25), and makes no effort to discipline the son. Brenda is the center of her universe, mingling with others who have similar views. It is notable that Brenda, like Guinevere, is "untouched by her husband's righteousness" (Auerbach 30), and therefore spends as much time as possible with women. like her. Brenda and her circle convert life into a kind of art to be judged only on aesthetic rather than moral grounds (Greenberg 370). Brenda's friends see the death of little John Andrew as a rumor in their circle, and Jenny narcissistically blames herself: "Oh God... what did I do to deserve this?" (Waugh 157). An article in College English stated that “Brenda and her circle are heartless” (Nichols 55). Although capable of emotion, they are unnatural in their passive rejection of traditional roles as faithful wives or loving mothers. Brenda's mother also seems to be consumed by banality. The little we know about Brenda's mother, Lady St. Cloud, is a possible clue to how Brenda acquired such indifference toward awareness of the feelings of others. Lady St. Cloud's personality comes through in her ridiculous letter of condolence: “...I will not come to Hetton for the funeral, but I will always think of you and my dear nephew. I will think of you as I saw all three of you, together, at Christmas. Dear children,at a time like this only you can help each other. Love is the only thing that is stronger than pain.... (Waugh 170).” Although her mother's absence does not hurt Brenda as she herself is not truly affected by her son's death, the condolence letter Her mother's cliché reveals the sheer stupidity of the society Brenda mixes and grew up in. Later, Lady St. Cloud says to Tony, speaking of Brenda: "Brenda must have felt a little neglected, which often happens at that stage of marriage. I have known innumerable cases and it was naturally flattering for her to find a young man to beg and carry for her. That's all, nothing wrong. And then the terrible shock of little John's accident shocked her and she didn't know what he was saying or writing. (175) The very idea that the couple could laugh at such a serious matter is itself absurd, even if they later reconciled The death of a child and an affair that threatens to tear a marriage apart are not things to laugh. Most of Brenda's character is revealed most clearly by her relationship with Beaver. After years of marriage to a man more in love with his house than his wife, Brenda seeks fulfillment outside of her marriage person of John Beaver, a man whose only use is to dial an even number at dinner parties. Brenda isn't exactly attracted to Beaver: he simply piques her curiosity by being similar but inferior to everyone she's ever known. John Beaver's reputation even among Brenda's friends is less than favorable, and he is called "a sad young man" (66). Brenda's playful nature allows her to have fun playing to discover if Beaver actually has a deep character. Brenda says of her lover, "He is second-rate, snobbish, and, I would say, cold as a fish..." (66). Later in the novel, Marjorie asks Tony not to divorce Brenda at least until she finds someone more reasonable than Beaver (174). Brenda's sin therefore appears to be not that she was unfaithful to her husband, but that she was unfaithful to, of all people, John Beaver. Brenda's relationship with Beaver may be the most revealing aspect of her character, but Brenda's most shocking characteristic is revealed when she receives news of her son's death. When he learns that his son has been killed, he initially believes that Jock is talking about Beaver. When Brenda realizes that it is her son and not her lover who is the victim of the tragic accident, her response is "Oh thank God" (162). Jonathan Greenberg's article "Did Anyone Get Hurt?" states, “The fact that Brenda feels relieved and thanks God that her son died in place of her hateful lover clearly reveals her depravity. His response to the news – unlike his reaction to the news of the strangled girl – is so shocking that whatever laughter it may provoke is overwhelmed by the revulsion the reader is likely to feel” (360). Brenda's reaction confirms Mrs Rattery's previous comment. to Tony that the news of the death may not upset Brenda as much as she fears: “You can never tell what will hurt people” (149). Brenda's relief at hearing the news of her son's death is by far the most memorable part of Brenda's character that establishes her abnormal nature. Brenda is entirely without remorse for deceiving her husband, and she does not do so over the course of "A Handful of Dust". repent of his ways. James Nichols notes that Brenda is well aware of Beaver's uselessness, but to support her lover she insists on a divorce and a large settlement (54). Brenda's demands guarantee that Tony will lose his home to meet hersneeds, but she is completely indifferent to his situation. In contrast, Brenda writes to Tony about her desire for divorce as if it were only a minor inconvenience, asking him not to worry about it too much and hoping that they will become great friends (172). Brenda's request is not just youthful; it is completely illogical to think that, after unapologetically cheating on her husband and forcing him to sell his house in her divorce, they will ever meet again. Jake Barnes is the protagonist of The Sun Also Rises, Brett Ashley serves as the center and objective of the novel because Brett is the person that all men have in common. She is “the epitome of the modern woman” (Elliott 77). Her presence drives the action of the story, as well as the actions of the male character throughout the story. Brett is a strong and independent modern woman, "almost alcoholic and almost nymphomaniac" (Rovit 156). She wields great power over the men around her, as her beauty and charisma seem to captivate everyone she meets. Furthermore, she refuses to commit to any man, preferring maximum independence. Unlike Brenda, whose character develops a little slower, Brett's extraordinary personality emerges immediately. She is described by Jake Barnes, the narrator, as “damn beautiful. She was wearing a jersey sweater and a tweed skirt, and her hair was combed back like a boy's. He started all this. It was built with curves like the hull of a racing yacht, and you couldn't miss a thing in that wool sweater” (Hemingway 30). His entry into the story occurs with a group of young homosexuals, establishing his character as a woman-man. Are you one of the boys, as evidenced in your interactions with men, such as when you enter the Caf? Select and say hello to all the “chaps” (36). She is accepted as one of the men, but that doesn't stop the men around her from falling in love with her. Where Brenda Last associates with women who are her mirror images, Brett has no female friends. Brett even says of herself: “I don't have a friend in the world. Except Jake here” (65). What would be the equivalent of Brenda's circle of gossipy women is Brett's group of young homosexual men. “Homosexuals like to play sports or make fun of the 'fallen' woman. His 'corrupted' sexuality provides them with a non-threatening toy” (Elliott 81). Brett seems comfortable socializing with homosexuals, because unlike the other men in the story, they are unlikely to fall in love with her. Brett may be defined by her sexual freedom, but her independence doesn't make her happy. He often complains to Jake about how unhappy he is; “Oh honey, I've been so unhappy” (32) she states. Her wandering from relationship to relationship parallels Jake and his friends' wandering from bar to bar, and while she is independent of any one person, she is dependent on always being in a relationship with someone at all times. As Jake observes, “She can't go anywhere alone” (107). Although “Brett is broke and relies on men to support his hedonistic lifestyle” (Onderdonk n.pag.), it is not the fear of financial ruin that drives his activities, as demonstrated when he rejects the offer of ten thousand dollars from the Count to accompany him to Biarritz (Sprague 260). Brett carries herself with confidence but inside she is a broken and insecure woman, scared to death of loneliness. What is most remarkable about Brett is its sheer modernity. Brett is not old fashioned at all. If she were made real and somehow transported into modern-day Paris, London or New York high society, she would fit in perfectly. Brett celebrates big time. She is unapologetically sexual and aggressively promiscuous. She also wears her hair cut short, like a man. She's one of the guys, whether the guys are thegroup of gay men or Jake, Cohn, Mike, Romero and the Count, all of whom she attempted a relationship with. Yet she strikes everyone who meets her with her attractive femininity. As a result, almost all the men in the book fall in love with her. This does not mean, however, that Brett is selfish or narcissistic. She is simply realistic about the power she has over men and accepts it. Brett's "unenviable time with her previous husband" (Rovit 156) "has turned Brett into the freewheeling equivalent of any man" (Baker 83), incapable of long-term relationship commitment, and is therefore always involved with a man. Despite her reputation, men love her wherever she goes and Brett makes her choice. In “The Sun Also Rises,” it is clear that Brett has had affairs with many male characters, leaving them hurt or heartbroken. in some way. The most obvious example is Robert Cohn, whose obsession with Brett leads him to act violently towards his friends. Brett sexually rejects Cohn after a brief encounter in San Sebastian and, for the following weeks, Cohn denies the loss of the relationship (Onderdonk n.pag.). She idolizes Brett, and her 'frank and simple' nature cannot believe, given their relationship, that her love is not reciprocated" (Scott 311). from other women men have ever met, which is part of its mysterious attraction. Yet that same factor is the most disconcerting aspect of his personality: Cohn doesn't understand that Brett drifts through relationships like men drift through bars. It means nothing to her. The effect his behavior has on Cohn is disastrous. Arthur Scott says in defense of Cohn's reaction: “Only Brett has the power to ruin it. He idolized her, he was her lover, he endured gross insults for her, and now he fought for her. His final reward is for her to call him 'a ruddy ass,' refuse his outstretched hand, and throw herself lovingly upon the other man” (313). Brett, who has all the graces of the aristocracy and is so full of class that she needs no title (see the Count's comment on page 64), is no fantasy queen. The discovery of this truth is what pushes Cohn over the edge; “His glorious romantic illusion has finally been irremediably shattered. His queen has proved herself a swindler, a swindler, a social fool” (313). When Brenda's illusion of Tony Last is shattered, her personal shock is quiet and subdued. When the emotional blow finally pushes him to the edge, he flees to South America rather than lash out at those around him. Brett's decision not to pursue a relationship with the young Romero for fear of ruining him follows this episode of violence with Cohn, who was ruined for having once been Brett's lover. If Jake could have had sex with Brett, it is certain that they would have done so. they had such a relationship at one point, but Jake is “a sexual cripple, unable to escape from loneliness to consummated love” (White 45). Part of the novel's intrigue is wondering whether Brett and Jake could have made each other happy if he had been able to satisfy her sexual needs, or whether the stability of their relationship rests on the fact that it cannot be consummated. Jake tells himself that “she thinks she's in love with him because it's something she can't have. It is certainly true that her love was born after Jake's disabling injury” (Rovit 156). It's possible that she is attracted to Jake in part because he is a direct contrast to her by being asexual. Brett's unhappiness is rooted in three things. First, like Jake, Mike and the Count, she is a war veteran. Secondly, there is no place in his society for a woman like Brett. Although Brett is a womanstrong, very desired by men, her type is not socially acceptable at this time among other women. Ultimately, Brett is almost as tormented by their unrequited love as Jake is. Indeed, her serial relationships can be seen as attempts to fill the void created in her by Jake's unavailability. Note that right after Jake tells Brett he loves her, she says she's in love with Romero, as if to bury her powerful, mutual feelings for Jake. This scene is not the first time Jake confesses his love for Brett, but it seems to become more painful for Brett as the novel progresses. Unlike Jake, who at the conclusion of the book finds himself in the same position he was in in the first scene. page, Brett has changed slightly by the end of The Sun Also Rises. First, she has truly become capable of loving someone besides Jake, an important step if she wants to live a life that is anything but completely miserable. But what is even more surprising is that, although she loves Pedro Romero, she loves him madly, in fact, she ends their relationship because she knows that continuing it would damage Romero's career. Brett demonstrated a capacity for generosity that was not evident at the beginning of the novel. Although she leaves Romero, whom she seemed to truly love, she still torments Jake by continuing to return to him, despite the fact that they will never be more than they are at the end of the book; friends. Brett's only hope is that she can learn to control her promiscuous behavior and settle down with a man, maybe even Jake if she could accept the fact that their relationship would never be sexual. The only clue that Brett might be able to redeem himself is his decision to leave Romero. Compared to Brenda Last, Brett takes on an interesting role as a fallen woman. She fits the part more completely because of her many relationships, and also brings with her the character of a fallen woman in her appearance and behavior. She smokes and drinks heavily and socializes closely with men, most of whom are past lovers. Yet despite his many sexual escapades, he recognizes that he has a problem. Brenda, on the other hand, never admits that she has done anything wrong and fully justifies her relationship with Beaver, acting as if her relationship is the most natural thing in the world, except that it is inconvenient for her husband. Both women are in relationships with younger men. Brenda is bored with the symmetry of her marriage to Tony and has an affair with Beaver out of boredom. Beaver is not very respected or well-liked in Brenda's circle, so her choice of him as a lover is obviously not motivated by any deep feeling. Brenda never actually gives an excuse for her relationship with Beaver. Brett, on the other hand, is fully aware of her problem, but is engaged in multiple affairs because she can't control herself. These actions have led Brett to be called a “compulsive bitch” (51) and “self-destructive” by critics (qtd. in Wagner-Martin 51). Most men she dates become an object of fantasy to her at some point, but they don't hold her interest for long. Brett's problem is rooted in deep emotional pain that she expresses through sex, just as men deal with their problems through alcohol. In Brett's case, instead of discarding Romero like a normal lover, she leaves him because she realizes the potential damage he could cause. do it. Following the violent episode with Cohn, Brett decides he can't risk hurting Romero, who he truly loves, the same way Cohn was hurt. He realizes that it would be “bad for him” (Hemingway 247). She refuses to be "one of those bitches who ruins kids" (247), and to do so she admits to Jakethat “it makes us feel pretty good to decide not to be a bitch” (249). Things don't last long in Brenda and Beaver's relationship after Brenda's divorce from Tony. Due to their mutual lack of depth, it is unlikely that Brenda's relationship would have hurt Beaver, but she never considers the possibility; for Brenda, being in a relationship is all about her. Both Brett and Brenda are highly regarded in their respective circles. Brett socializes with men, many of whom become lovers, but she is a favorite of the locals wherever she goes, and fits into high society wherever she travels, with relative ease. Cohn calls her “extraordinarily attractive,” as well as appearing “absolutely beautiful and direct” (Hemingway 46). Brenda is also mentioned favorably. John Beaver's mother and Jock Grant-Menzies compliment her before her entry into the novel. Although Brenda and Brett are in very different environments, they are both popular in their own worlds. Going back to the point about Brett being a modern woman, this is one point where Brett and Brenda differ greatly. Brett is a modern woman in the way that she manages to be a heavy drinker and a party girl, yet remains attractive and decidedly feminine. She is openly promiscuous and is defined by her independence and ability to control the men around her. Brenda on the other hand still seems a little old fashioned compared to Brett. Brenda is the stereotypical English landlady who takes trips to London and mixes with upper-class women. Although Brenda feels no remorse for her decision to cheat on Tony, she is not known for being an unfaithful wife; therefore he keeps his relationship low profile. Brenda is very much a lady, while Brett, although feminine, has distinct qualities about her that are undeniably masculine. Brett has short hair and wears men's hats while ordering drinks deemed inappropriate for women. Brenda, although unfaithful, still fulfills her role as a wife and mother, as well as a socially graceful and well-bred woman. Traditionally, fallen women come to a tragic end that serves as a moral for the reader. This is not the case with Brett Ashley or Brenda Last. While Victorian literature “orders that a woman's fall ends in death” (Auerbach 30), the transition from Victorian literature to modern literature marks a change in conventions. Brenda's relationship with Beaver doesn't last long after her divorce, but she marries Jock Grant-Menzies as soon as Tony is declared dead. Brett's ending is more ambiguous as she leaves Romero and decides to follow through with her engagement to Mike, even though the hope of a successful marriage is extremely slim. Since we know little about Jock Grant-Menzies, it's impossible to say whether or not his marriage to Brenda will last. It is possible that if Jock could be a little more attentive to his wife's emotions and opinions instead of simply giving her money to do what she wants, there would be a small chance that Jock and Brenda could have a happy marriage. Fallen women have become some of the most fascinating and famous characters in literature. Tess of the D'Urbervilles, The French Lieutenant's Woman, The Sound and the Fury, 1984, and countless other novels have featured women of all types and from all walks of life. Sometimes these women are purely evil, but more often they are complex creatures with crucial backgrounds or circumstances that have shaped them into their fallen state. For Lady Brett Ashley, it meant losing her true love during the war and enduring two disastrous marriages. The experience of being a war nurse would have been harrowing enough in itself to cause serious emotional problems, without the personal losses suffered. For Brenda Last, she had the misfortune of being married to a man who, 1969.