Yasmine Reza’s God of Carnage depicts precisely what the title of her play states. Two couples, both of the upper-middle to upper class, meet together one night to discuss a seemingly simple matter: one couple’s son has knocked out two incisors of the other’s with a stick. Initially, the parents—Alan and Annette Raleigh and Michael and Veronica Novak—act as civilized adults trying to sort out the problem without hurting anyone’s feelings. Socially awkward, Annette compliments the Novaks’ tulips; Alan remains completely disengaged; Michael tries to make the Raleighs feel at home; and Veronica seems to be the only one truly caring about the issue. The entire dynamic of the play shifts when Annette, tired of Alan’s shamelessness in talking on his cell phone constantly, vomits all over the Novaks’ coffee table and Veronica’s precious books.
In Like Water for Chocolate Esquivel takes traditional situations and adds magical elements, completely exaggerating otherwise normal scenarios with fantastic details. When the wedding guests become ill after eating the wedding cake, they vomit in quantities to cover the patio in a river. Tita and Pedro's final lovemaking is passionate and intense; it starts an explosive blaze that is viewed from miles away as fireworks. The magical realm is most evident in Tita's kitchen. There, Tita, who has never been pregnant, is able to nurse her nephew.
She shuns the luxuries of her brother’s mansion, for the quiet comforts of Gods creation. She abstains from the town gossip circles, for time alone to allow more time for inner reflection. These characteristics should make her a good role model but instead she is simple labeled as a witch for her peculiarities. She is so misunderstood that even a so-called devil child can see her goodness “What is it, good Mistress Hibbins? (Hawthorne 237)” Mistress Hibbins is a lonely, widower that misses her husband and wants to be with him.
Even though they have been together in the past, the fact that they are not together at the time of the story shows how their relationship must have failed and therefore love is seen as unobtainable. He seems to place Daisy so high on a pedestal that she is in a way already unreachable. He loves her so much, with so much passion, worked so hard to be up to her standards (bought the house, throws all these parties…). However, she has never turned up to any of his parties or shown any interest in a certain Gatsby showing that love is unobtainable. Jordan mentions to Nick that “he half expected her to wander into one of his parties but she never did, then he began asking people casually if they knew her”.
Alina is constantly watching herself making sure that she doesn’t get on Mrs. Kong’s bad side, which would be horrible because she could end up getting fired and after that she will get deported and then she will have nothing to offer her family. On top of that her daughter doesn’t recognize who she is and as for her husband who knows what he could be doing so far away. Later on in the story Mr. Kong also comes out with the truth and end up telling Alina how madly in love he is with her and of course although that is her boss she would not allow him to continue and try to kiss her, so she end up going to jail. After being in jail assuming that is basically the end for her, Mrs. Kong comes out of nowhere and bails
Love through the Ages Chart Main Themes: - Romance and passion - Love and marriage - Illicit love - Meetings and partings - Parents and family Text | Year | Aspects | Quote | Analysis | Prose | The Great GatsbyFitzgerald | 1923Mod. | MarriageAdulteryFamily | “Neither of them can stand the person they’re married to.”“That’s the best thing a girl can be in this world, a beautiful little fool.” | First person.Signifies the breakdown of traditional morals in the 20th Century, valued nothing but money. Marriage was no longer valued. | The WoodlandersThomas Hardy | 1887Vic. | LossLoveAnger | “As if she were stroking a little bird” | Simile.Class differences (Giles and Doc)Melodramatic, Giles dies after sleeping in rain.Poetic, rhythmic.Eyes are a metonym for beauty.
When Nick and Daisy are alone for the first time she states, “Well, I’ve had a very bad time…and I’m pretty cynical about everything” (21). Daisy speaks as if her life is completely miserable and she also doesn’t seem to believe that any of it is her fault. What a lie. From the very beginning of their [Tom and Daisy] marriage, Daisy knew Tom was unfaithful, “If he left the room for a minute she’d look around uneasily and say ‘Where’s Tom gone?’ and wear the most abstracted expression until she saw him coming in the door” (82). Before this line, Jordan remarks that she’s “never seen a girl so mad about her husband,” it’s more like Daisy was mad with worry that her husband was off with some other woman.
Orual never feels that she is loved by anyone, that is, until Psyche enters her life after Psyche’s mother dies giving birth to her. Orual takes it upon herself to become Psyche's guardian and to raise her. Orual loves Psyche more than anything, but her love is selfish and very possessive. Orual is tormented by the thought of having to ever give Psyche from her possession and she does everything in her power to prevent it. After first being separated from Psyche then becoming bitter from not seeing the same things as Psyche once reunited, I realized the tragedy was that not only did Orual never found the “love of the Gods,” she also never learned to love her life and accept herself as the person she was.
Some of these illusions are about her, and some are of her children, but all are detrimental to the family’s’ stability. One of Amanda’s illusions is that Laura will start receiving gentleman callers, even though Laura says she is not expecting any. Amanda tells her, “It’s almost time for our gentleman callers to start arriving. How many do you suppose we’re going to entertain this afternoon” (1288). Finding a gentleman caller for Laura becomes Amanda’s driving force because she places too much importance on it “It’s terrible, dreadful, disgraceful that poor little sister has never received a gentleman caller” (1305).
Henrik Ibsen’s A Doll House ends on either a very negative note, or a very positive note depending upon how one views such situations. At the end of the story, Nora Helmer leaves her oppressive, belittling husband, and children - who are hardly her children - behind to rediscover and educate herself. Ibsen states, “The wife in the play ends by having no idea of what is right or wrong; natural feeling on one hand and belief in authority on the other have altogether bewildered her.” (Ibsen. 409) Nora’s situation was a very unique one with many tunnels and slides to be trekked. Her exit was a fully rational, completely acceptable action.