Because he realizes that Jim is a human he decides to keep Jim’s escape a secret and lie for Jim, Huckleberry Finn shows that he doesn’t live by society’s morals, but that he creates his own. Even though society’s morals are unethical and do not recognize Jim as a human, Huckleberry acknowledges Jim’s humanity. Huckleberry Finn is set in the 1800s when only white people were viewed as humans, and African-American slaves were viewed as property, so it is a very impactful point in the novel when Huckleberry acknowledges Jim as a human. In a conversation between Huckleberry and Aunt Sally discussing an accident on a boat, Aunt Sally says: “‘Good gracious! Anybody hurt?’”(Twain 279).
It is both dramatic and sudden; the cold choice of colours and dark lighting used accurately represents how he is first portrayed in the novel. Rochester has a ‘dark face’ and is brooding and muscular, rather than good-looking, tall and elegant. Jane states that ‘had he been a handsome, heroic-looking young gentleman’ then she would have not ‘dared to stand thus questioning him’, making him appear more mysterious. Jane finds herself ‘fastened on his physiognomy’ and when he asks her if she finds him handsome, she declines bluntly. The response from Rochester is out of the ordinary - he seems only to find her ‘singular’ and does not reprimand her for speaking impolitely.
The author uses different adjectives to describe to the reader the appearance and personality of Curley’s wife. The fact that Steinbeck refers to her as “A girl” may show her immature desire for attention, and the fact that she wore mainly red symbolizes blood and danger which also hints to the reader that she is a mesmerizing but dangerous woman. Curley’s wife was “heavily made up” which suited the description that Candy gave to George – a tart. However, this may symbolize that she is wearing a mask and is not showing her true persona, and we find that later on in the novel she truly reveals herself to Lennie. This enforces the idea that unlike Lennie, she is a complex character in the novel.
One may then say that any argument presented by a modern feminist attacking the Wife of Bath/Geoffrey Chaucer would obviously not be taking into account the affect of the common 14th century perspective on the subject of feminine independence; but I digress, perhaps the Wife of Bath's character is not meant for absolutists. In other words, just because she may posses some qualities of a “wicked” wife doesn't necessarily mean Chaucer is trying to portray her as the embodiment of all women; in fact, one might assume that the Wife of Bath's character is too developed for such an obvious connection. In Chaucer: Sources and Backgrounds, Geoffrey of Vinsauf explains description as “pregnant with words” and the amount of detail Chaucer's narrator puts on the Wife of Bath in both the Prologue to her Tale and the General Prologue makes her both complicated and easy for the reader to relate to. The reader is not perfect, and neither is the Wife of Bath. In fact, it could be argued that Alisoun is exactly what the medieval Church saw as a “wicked woman,” and she seems to be very much proud of the fact—not to say that she doesn't have plenty to say when justifying her lifestyle.
She wishes to teach this to her two daughters but times have changed and her daughters have difference views of what they think heritage is. “Everyday Use” shows the difference between learning about heritage and learning from it. The direct and the indirect characterization of the three main characters help the reader understand the different views of heritage; Mama thinks Dee rejects it, Mama is ignorant to the realness of heritage, and Maggie learns from it. The direct characterization of Dee leads the reader to think that she rejects her mother’s heritage. Direct characterization is when the narrator, in this case ‘Mama’, tells the reader what the character’s traits are.
In the opening scene of Jane Eyre, we immediately see how Jane is suppressed by the Reed family. She is often forbidden to show expression in any form. Upon questioning her guardian as to the reasoning behind her being excluded from the rest of the family, she is told, "Be seated somewhere, and until you can speak pleasantly, remain silent" (39). She retires to solitude in another room of the house with a book to keep her occupied and is never allowed to explain herself. When John Reed finds her and hurls a book at her head, she is forced to go to the "red-room."
She always obeys the laws, never reads books, and suffocates on the inside. When Montag reads a poem to their guests Mrs. Bowles and Mildred are furious. Mrs. Bowles says, “that’s not right! We can’t do that!”(98). In this society people get very disturbed when the law is broken.
The title is quite self-explanatory and any reader could guess what the book was about. Jane Austen had famously described the book to be ‘rather too light & bright & sparkling’( Introduction xi). The interpretation that statement gives the reader is that the issues of love and marriage of a lower class was quite the taboo subject that was never really discussed. Although the book seemed to be lightly funny, there is a deeper meaning to this book. One of the earliest examples of pride and prejudice would have started at the ball, where Mr Darcy first made an entrance into Elizabeth’s life.
The novel begins in a rather light-hearted manner, with Penelope giving a typically witty and casual account of her current situation. However, soon after her first words, the maids jump in, with a much more gloomy and serious tone. Their accusatory tone in the first lines of their poem: “we are the maids/the ones you killed/the ones you failed” (5) creates some doubt and suspicion towards Penelope and her carefree tone in the first few pages of the novel, as it becomes clear that she may be concealing some darker happenings that she is seemingly responsible for. By including heteroglossia so early in the novel through the immediate appearance of the maids, Atwood introduces her readers to the back-and-forth nature of the novel that intends to leave readers torn between believing Penelope’s account of events and believing that of the twelve maids. The use of heteroglossia within Penelope’s narration of events also allows
One review states that the novel proves to be filled with “ruthless rigour [which] must command our admiration, but [is] almost startling in one of the softer sex” (The Christian Remembrancer). Women were considered to be weaker than men – creatures intended to take care of the children and remain quiet. The gender of the author of Jane Eyre is questioned in an 1848 review, justified by saying that “if [they] ascribe the book to a woman at all, [they] have no alternative but to ascribe it to one who has, for some sufficient reason, long forfeited the society of her own sex” (Rigby). It is clear that society at the time found it difficult to believe that the novel could have been written by a woman. Again, the author of Jane Eyre challenges the accepted opinion – that which states that a woman is to be protected and must remain innocent – by writing in such a way that it includes “an intimate acquaintance with the worst parts of human nature” (The Christian Remembrancer).