"What was the name of ""She who must be obeyed"" in the novel She by H Rider Haggard?"
"thousand years after his death), Ayesha echoes the long-lasting fidelity of Victoria to her husband, Albert. However, unlike the ""benign"" Victoria, the question of female authority is realised to the extreme in the figure of ""She-who-must-be-obeyed"", whose autonomous will seemingly embodies Victorian anti-feminist fears of New Women desiring 'absolute personal independence coupled with supreme power over men'. Haggard constantly emphasises this anxiety over female authority in ""She"", so that even the rationally minded and misogynistic Holly, who has put his ""heart away from such vanity as woman's loveliness"", ultimately falls upon his knees and worships Ayesha ""as never woman was"
"was the natural state for women: ""Notwithstanding the energetic repudiations of the fact that confront us at every turn, it may be taken for granted that in most cases it is the natural mission of women to marry; that – always in most cases – if they do not marry they become narrowed, live a half life only, and suffer in health of body and of mind."" He created the character of ""She-who-must-be-obeyed"" ""who provided a touchstone for many of the anxieties surrounding the New Woman in late-Victorian England"". According to Haggard's daughter Lilias, the phrase ""She-who-must-be-obeyed"" originated from his"
"in 1935, starring in the Hollywood movie, ""She"", playing Hash-a-Motep, queen of a lost city. The movie, based on H. Rider Haggard's novel of the same name, is perhaps best known for popularizing a phrase from the novel, ""She who must be obeyed."" Gahagan's depiction of the ""ageless ice goddess"" served as inspiration for the Evil Queen in Walt Disney's ""Snow White and the Seven Dwarfs"". While in Vienna in 1938, performing ""Tosca"" at the Vienna State Opera, a dream come true for Gahagan Douglas, she found herself having coffee with a Nazi sympathizer. The experience sickened her to such"
"childhood and ""the particularly hideous aspect"" of one rag-doll: ""This doll was something of a fetish, and Rider, as a small child, was terrified of her, a fact soon discovered by an unscrupulous nurse who made full use of it to frighten him into obedience. Why or how it came to be called She-Who-Must-Be-Obeyed he could not remember."" Haggard wrote that ""the title ""She"""" was taken ""from a certain rag doll, so named, which a nurse at Bradenham used to bring out of some dark recess in order to terrify those of my brothers and sisters who were in her"
"the notion of imperialism is further compounded by the figure of She, who is herself a foreign colonising force. ""In a sense then"", writes Stauffer, ""a single property line divides the realm of Queen Victoria and that of ""She-who-must-be-obeyed"", two white queens who rule dark-skinned natives of the African continent"". Like many of his Victorian contemporaries, Rider Haggard ""proceeds on the assumption that whites are naturally superior to blacks, and that Britain's imperial extensions into Africa are a noble, civilising enterprise"". Although Haggard penned a number of novels that portrayed Africans in a comparatively realistic light, ""She"" was not among"
"Wilt describes as the ""ultimate Darwinian nightmare"", evolution in reverse. When Rider Haggard first conceived of ""She"" he began with the theme of ""an immortal woman inspired by an immortal love"". Although ostensibly a romance, the novel is part of the wider discourse regarding women and womanhood in late-Victorian Britain. Many scholars have noted how ""She"" was published as a book in 1887, the year of Queen Victoria's Golden Jubilee, and Adrienne Munich argues that Haggard's story ""could fittingly be considered an ominous literary monument to Victoria after fifty years of her reign"". Indeed, in her devotion to Kallikrates (two"
"'an old wrinkled black woman was carried out on a litter, accompanied by her chief indunas, to negotiate with the white people. It was a great disappointment to the men watching the proceedingsof ""She-who-must-be-obeyed"" there was no trace. She was not the white woman of the legends. It is told that Joubert presented her with a ""kappie"" (bonnet) and a blanket.' According to the book ""Realm of a rain-queen"", however, Joubert was shown not the real Rain Queen, but an impersonator. Masalanabo Modjadji is said to be the inspiration for H. Rider Haggard's novel, ""She: A History of Adventure"". Because"
"portrait"" of its title heroine with a ""fascinating, wholly convincing"" story line. Cleopatra (Haggard novel) Cleopatra: Being an Account of the Fall and Vengeance of Harmachis is a novel written by the author H. Rider Haggard, the author of ""King Solomon's Mines"" and ""She"". The book was first printed in 1889. The story is set in the Ptolemaic era of Ancient Egyptian history and revolves around the survival of a dynasty bloodline protected by the Priesthood of Isis. The main character Harmachis (the living descendant of the pharaoh's bloodline) is charged by the Priesthood to overthrow the supposed impostor Cleopatra,"
"as ""She"" or ""King Solomon's Mines"" were best left unrevised, because ""wine of this character loses its bouquet when it is poured from glass to glass."" However, he made a number of alterations to the original ""Graphic"" version of ""She"" before its publication as a novel in 1887. One of the most significant was to the third chapter concerning the sherd, which was substantially expanded from the original to include the tale of Amenartas in uncial and cursive Greek scripts. Facsimile illustrations were also included of an antique vase, made-up by Haggard's sister-in-law Agnes Barber to resemble the sherd of"
"Cleopatra (Haggard novel) Cleopatra: Being an Account of the Fall and Vengeance of Harmachis is a novel written by the author H. Rider Haggard, the author of ""King Solomon's Mines"" and ""She"". The book was first printed in 1889. The story is set in the Ptolemaic era of Ancient Egyptian history and revolves around the survival of a dynasty bloodline protected by the Priesthood of Isis. The main character Harmachis (the living descendant of the pharaoh's bloodline) is charged by the Priesthood to overthrow the supposed impostor Cleopatra, drive out the Greeks and Romans and restore Egypt to its golden"
"to be based on H. Rider Haggard's 1887 novel """". Rather than attempting to tell the whole story of the novel, Méliès used one of its characters as inspiration for a trick film, recalling the scene in the novel in which Ayesha stands amid flames. At least six other adaptations of ""She"" were made in the silent era. The film was released by Méliès's Star Film Company and is numbered 188 in its catalogues. While the film was marketed in America and Britain as ""Haggard's She"", emphasizing the connection with the popular novel, it was offered simply as ""Danse du"
"developed many of the conventions of the Lost World subgenre, which many later authors emulated. ""She"" is placed firmly in the imperialist literature of nineteenth-century England, and inspired by Rider Haggard's experiences of South Africa and British colonialism. The story expresses numerous racial and evolutionary conceptions of the late Victorians, especially notions of degeneration and racial decline prominent during the ""fin de siècle"". In the figure of She, the novel notably explored themes of female authority and feminine behaviour. It has received praise and criticism alike for its representation of womanhood. A young Cambridge University professor, Horace Holly, is visited"
"a lot of time with Patsy. I think we were both seven when we met."" The dynamics of their relationship were clear from the start, with Bianca portrayed as the dominant, bossy and authoritative partner, while Ricky was shown as the hen-pecked, dim-witted ""loser"" or ""soft touch"", comically under the thumb of his female counterpart. James Rampton from ""The Independent"" has commented, ""to her eternally put-upon husband, Ricky, Bianca was a ferocious reincarnation of H Rider Haggard's 'She Who Must Be Obeyed'."" Bianca was notorious for shouting the catchphrase ""Rickaaaaaaay!"" (a cockney pronunciation of Ricky) at her lover. It has"
"She and the manner of her demise: ""To the present writer there is a sense of the ludicrous in the end of ""She"" that spoiled, instead of concluding with imaginative fitness, the thread of the impossible worked into the substance of this vivid and brilliantly told story"". Haggard was moved to respond to the criticism of Ayesha's death, writing that ""in the insolence of her strength and loveliness, she lifts herself up against the Omnipotent. Therefore, at the appointed time she is swept away by It... Vengeance, more heavy because more long delayed, strikes her in her proudest part –"
"Wisdom's Daughter Wisdom's Daughter is a fantasy novel by British writer H. Rider Haggard, published in 1923, by Doubleday, Page and Company. It is the final book in the Ayesha series. Along with the other three novels in the series, ""Wisdom's Daughter"" was adapted into the 1935 film ""She"". At the end of """", the title character appeared to be killed; but promised to return. In ""Ayesha"", the second book, the two adventurers from the first novel, Leo and Holly, are inspired to look for She in Thibet. They discover people who have lived in a hidden mountain since the"
"in Victorian Gothic. Similarly, ""She"" marks one of the first fictional examples to raise the spectre of the natural decline of civilisation, and by extension, British imperial power, which would become an increasingly frequent theme in Gothic and invasion literature until the onset of World War I. Rider Haggard's writing style was the source of much criticism in reviews of ""She"" and his other works. His harshest critic was Augustus Moore, who wrote ""God help English literature when English people lay aside their Waverley novels, and the works of Defoe, Swift, Thackeray, Charlotte Brontë, George Eliot, and even Charles Reade"
"of it as more than a work of imagination. However, before Holly's death, he was holding the Sistrum of Isis, and he was visited by a spirit of some kind, which the Executor thinks might have been She. As Holly points out, the story is told from She's perspective, and since She claims to have lived for over two thousand years, since Ancient Egypt, there is no way to compare her story with any other sources, or witnesses. She Who Must Be Obeyed says that she was Arabian, by birth; and given the name Ayesha. Although, in the introduction, Sir"
"She (1984 film) She is a post apocalyptic film directed by Avi Nesher and starring Sandahl Bergman. ""She"" was based on H. Rider Haggard's novel """". Set 23 years after an event called ""The Cancellation"", the film follows Tom, whose sister is captured by a local tribe. He sets out to find and rescue her, while avoiding the dangerous tribes he encounters along the way. Sandahl Bergman plays ""She"", who ends up aiding Tom after he escapes from her. She decides to help after learning of a prophecy given to her by a local seer. The heroes have to face"
"Stella Fregelius Stella Fregelius: A Tale of Three Destinies is a 1904 novel by British writer H. Rider Haggard about a young inventor who falls in love with a mysterious stranger while he is engaged to another woman. As a novelist, Haggard is known primarily for his adventure novels. Among his most widely read and critically acclaimed novels are ""King Solomon's Mines"", ""Allan Quatermain"", and ""She"". After his publication of ""She"", Haggard wrote at least one novel a year every year until his death in 1925. The publication of ""Stella Fregelius: A Tale of Three Destinies"" appears on Haggard's timeline"
"to submit to the illusion. ""The Spectator"" was more equivocal in its appraisal of ""She"". The review described the narrative as ""very stirring"" and ""exciting"" and of ""remarkable imaginative power"", adding: ""The ingenuity of the story... is as subtle as ever romancer invented, and from the day when Leo and Holly land on the coast of Africa, to the day when the Pillar of Fire is revealed to them by the all but immortal 'She-who-must-be-obeyed', the interest of the tale rises higher and higher with every new turn in its course"". However, the review took issue with the characterisation of"
"femininity; in particular her deferring devotion to Kallikrates/Leo, whom she swears wifely obedience to at the story's climax: ""'Behold!' and she took his [Leo's] hand and placed it upon her shapely head, and then bent herself slowly down till one knee for an instant touched the ground – 'Behold! in token of submission do I bow me to my lord! Behold!' and she kissed him on the lips, 'in token of my wifely love do I kiss my lord'."" Ayesha declares this to be the ""first most holy hour of completed womanhood"". ""She"" is one of the most influential novels"
"ruins of an ancient civilization (presumed to be white), and just as often, they encounter two native factions - one ""barbarous,"" the other willing to be ""civilized"" by the European visitors.” The character Noma is an example of the New Woman and the idea that Haggard consistently portrays in many of his novels that in order to prevail in society, the New Woman must be stopped and then taught that her actions are not moral or correct. In late-Victorian Britain, women and womanhood was beneath manhood and were “seen, not heard.” Noma seems to be the opposite of what a"
"She (1925 film) She is a 1925 British-German fantasy adventure film directed by Leander de Cordova and G. B. Samuelson and starring Betty Blythe, Carlyle Blackwell and Mary Odette. It was filmed in Berlin as a co-production, and based on H. Rider Haggard's . According to the opening credits, the intertitles were specially written for the film by Haggard himself; he died in 1925, the year the film was made. The book has been a popular subject for filmmakers in the silent and sound eras, with at least five short film adaptations produced in 1908, 1911, 1916, 1917, and 1919"
"and Bilali, Ayesha's faithful minister. This book formed the third part of the ""She"" trilogy, although in chronological terms, it necessarily served as a prequel to the first two ""She"" books, since Holly and Leo, the protagonists of the first two books, both die at the end of the second novel. Dates of events in Allan Quatermain's life are shown on the left; dates of publication in book form are shown on the right. The Allan Quatermain character has been expanded greatly by modern writers; this use is possibly due to Haggard's works passing into the public domain, much like"
"Greek, while Holly is said to resemble a baboon in facial appearance – an animal Victorians typically associated with black Africans. Whilst critics like Wendy Katz, Patricia Murphy, and Susan Gubar have analysed the strong racist undercurrent in ""She"", Andrew Stauffer has taken note of the qualifications through which ""the novel suggests deeper connections among the races, an ancient genealogy of ethnicities and civilizations in which every character is a hybrid"". Indeed, there is a strong Darwinian undercurrent framing the representation of race in ""She"", stemming from Haggard's own interest in evolutionary theory and archaeological history. In particular the theme"
"is as terrible, beautiful, and deadly as lightning. After Kallikrates' death, the Princess flees, urging Leo's descendants to revenge themselves on She, through the artifacts she passes down, which Holly and Leo find, in the first book, . Ayesha is doomed to wait, in Kor, for his return, through the centuries, becoming weary of the world. She has learned everything the world and Nature has to offer; but, still she must wait, for love and redemption. Wisdom's Daughter Wisdom's Daughter is a fantasy novel by British writer H. Rider Haggard, published in 1923, by Doubleday, Page and Company. It is"
"Aldiss notes the frequency with which Ayesha's death in the Pillar of Fire has been imitated by later science fiction and fantasy writers: ""From Haggard on, crumbling women, priestesses, or empresses – all symbols of women as Untouchable and Unmakeable – fill the pages of many a scientific romance"". ""She"" is part of the adventure subgenre of literature which was especially popular at the end of the 19th century, but which remains an important form of fiction to the present day. Along with works such as ""Treasure Island"" (1883) and ""Prince Otto"" (1885) by Robert Louis Stevenson, and Jules Verne's"
"Hermuthruda Hermuthruda, Hermutrude (Old English: Eormenthryth) was a figure in Scandinavian romance. The chief authority for the legend of Hermuthruda is the Danish chronicle Gesta Danorum by Saxo Grammaticus. Described as ""the wild queen of Scotland"", she became the wife of Wihtlaeg or Vigletus and is described as a Wicked Queen type of character such as found in a variety of fiction. In the chronicle, Amlethus (Hamlet) is sent to court Hermuthruda by the King of England. However the queen had a reputation for killing all suitors, Saxo saying ""in the cruelty of her arrogance she had always loathed her"
"""New Edition"" of 1888 containing over 400 minor alterations. The last revision by Haggard to be published was in 1896. ""She"" is one of the foundational works of fantasy literature, coming around the time of ""The Princess and the Goblin"" (1858) by George MacDonald, William Morris' ""The Wood Beyond the World"" and ""The Well at the World's End"", and the short stories of Lord Dunsany. It is marked by a strong element of ""the marvelous"" in the figure of Ayesha, a two-thousand-year-old sorceress, and the 'Spirit of the World', an undying fire that confers immortality. Indeed, Haggard's story is one"
"H. Rider Haggard links the name Ayesha to Mohammed's wives, and Arabic or Arabic names, (Arabic: عائشة, Āʾisha), stating that it should be pronounced ""Ash/ -ha""; A·ye·sha/ äˈ(y)ēSHə/, is perhaps more common. She claims that her natural beauty and wisdom was so great, it caused wars between the princes, who wanted to marry her. She says that while this was at first a great source of pride among her Father’s people, they soon began to resent her, and spread vicious rumours that she was cursed. Ayesha leads her Father’s people into victory, and revels in the battle; but, the women"
"published by Harper and Bros. in New York on 24 December 1886; this included the Johnson illustrations. On 1 January 1887, an English edition was published by Longmans, Green, and Co., but without any images. It was the first publication of ""She"" in book format, and featured significant textual revisions from the ""Graphic"" serial made by Haggard. He made further revisions for an 1888 edition, which included illustrations by Maurice Greiffenhagen and C. H. M. Kerr. In 2006 a Broadview publication of ""She"" became the first edition to reproduce the ""Graphic"" serial text since 1887. Haggard contended that romances such"
"novel. I think that after she had completed two or three folio sheets my wife ceased from her fictional labours. But, growing interested, I continued mine, which resulted in the story called ""Dawn."" Haggard never found out who the girl was but was sufficient inspired to write the first draft at Norwood in 1882, while studying for the Bar. The novel was originally called ""Angela"", which was the first name of the heroine of the story; Angela was also the name of Haggard's eldest daughter. Haggard later redrafted the novel several times, one version being called ""There Remaineth a Rest""."
"Dawn (Haggard novel) Dawn is the debut novel of H Rider Haggard. Haggard later said he was inspired to write the book while living in Norwood. He and his wife were attending a Church service when they saw sitting near them ""a singularly beautiful and pure-faced young lady"" Afterwards we agreed that this semi-divine creature — on whom to the best of my knowledge I have never set eyes again from that day to this — ought to become the heroine of a novel. So then and there we took paper, and each of us began to write the said"