Flatland

            
            
             The book Flatland: A Romance of Many Dimensions by Edwin A. Square on how geometric shapes can relate to humans, as well as how the types of shapes show their social status, such as skinny figures(lines) resembling females. .
             The class system in Flatland relied on the types of geometrical figures. If a figure a few sides than it would be lower in the class system while the more sides a figure had the higher it would be in the class system of Flatland. So shapes such as isosceles triangles were considered soldiers and lower class because they only had three sides, the middle class consisted of equilateral or equal sided triangles, the professional men and gentlemen were squares and five-sided figures/pentagons, then comes the nobility which begin at hexagons and go all the way to the title of a Polygonal figure. But the highest class of all is the Priestly order, they are considered to be the highest of all shape because in reality a circle is a really a figure with countless sides. .
             The women are the lowest of all in the social hierarchy of Flatland. The women of Flatland are treated harshly. They are the lowest of the all classes and have to follow certain rules. It is not fair that a woman cannot achieve nor do half of the things a man can. Flatland had a bad social structure, especially pertaining to women. Though they are the simplest of all figures, it does not mean they should be treated without respect. The author, Edwin A. Abbott, does not agree with the lifestyle of women during the late 1800's, as they are still the regular housewives that raise children. Though he would want them to achieve equality, he cannot do anything land for women to be treated the way they are.
             In describing this society in Flatland, Edwin A. Abbot describes the straight lined women and the triangular soldier class as the most dangerous because of their sharpness, and where the addition of color was outlawed for its confusion of the classes, and where any irregularity of figure is the equivalent of "moral obliquity and criminality," and treated as such.