Throughout The White Devil, Webster presents his leading female character Vittoria as elusive, Vittoria’s absence from the stage for much of the play and often present on stage only due to the fact that she is continuously accused of being a ‘whore’. During scene one Vittoria speaks only two short lines and then exists the scene and is not heard of until her court trail scene. She is often used to create dramatic situations even during her trail scene, where whatever she speaks is re-told even when she recalls a dream she has had, Bracciano boldly states ‘sweetly shall I interpret your dream’. Portraying the fact that she is unable to interpret her own dream, implying that she is incapable compared to the male characters. During her trail scene, she is accused of being a whore and it is at this point in the play that she gains a voice.
Farmer highlights the inner resilience of her characters as they come to realise their place in the world. In a selected passage from “A Woman in a Mirror”, readers are confronted with a nameless protagonist, a universal emblem of society’s tendency to ignore the torment of illness and death rather than face the truth. The protagonist’s underlying tendency to refuse to acquiesce to the very possible thought of “cancer of the cervix” preferring to “take risks”, “I never took risks” appears to have tailgated her apparent “solitude”. Farmer’s focus on emotional disconnection is a reiterated one, whether it be in effect of the internal isolation, such as “A man in the Laundrette” or the result of cultural displacement “Ismini” and “Pumpkin”. The protagonist’s self-pity is often stressed in her reference of time, “Time was andante” as she procrastinates her shear loneliness without addressing the common cause “Peter had died”, preferring to delve into the intrinsics of the event as the “car glided under the lorry”, rather than acquiesce to the reality of her impeding future.
Ross relies on alliteration to resonate the “wild lipless wailing” of the wind which creates the “creak of walls” and echoes through the loft. The use of concrete words, such as ‘walls’ and ‘loft’ also provide a sensual connection to the imagery portrayed in the first line. Ross later enters into great detail to characterize the wind to create vivid images to its reader. Ross personifies the wind by describing it as a cry from the “parched and frantic lips” of a woman who was “staring into the livid face before him.” Ross utilizes adjectives such as “frantic “and “parched” to emphasize the desperate plea of the woman. This cry continues to haunt Paul’s thoughts and is personified as having lips that cried and pleaded and “eyes that were mad.” By characterizing the woman’s cry, it offers the reader Paul’s view of Ellen’s pleading.
This is not the physical paralysis of the body but a psychological state of the mind and emotions. Joyce broke the stories down into four categories for the different stages of life, childhood, adolescence, mature life and public life. Eveline is centred on the adolescence stage of paralysis where there might have been hope for her to change and get free from her state of paralysis, but Joyce has no faith in this stage of life and so there is no hope for change. In the second interpretation I will examine the possibility that Frank is just a fantasy he is not real. He is just an imaginary kind, gentle, man that is just a figment of her imagination who will take her somewhere far away from all the dullness and hardship of her life, to a new exotic loved up life full of happiness.
After he does this Nick says that the “caught wind died out about the room”. This is different from the beginning of the passage because now the wind is being taken; Tom is assuming complete control over everything around him. The aspect of nature in this part of the passage, wind, is referred to as dead. This is very different from the beginning of the passage because the house and the Buchanan family no longer foster life and growth. Nick also witnesses the “two young women balloon slowly to the floor”.
The city is squalid and sinister, With the silver-barred street in the midst, Slow moving, A river leading nowhere. Opposite my window, The moon cuts, Clear and round, Through the plum-coloured night She cannot light the city; It is too bright. It has white lamps, And glitters coldly. I stand in the window and watch the moon. She is thin and lustreless, But I love her.
His good looks forced her to say “I’m sick of shadows” and break the curse by leaving the tower, which results to her tearful death. ‘The Lady of Shalott’ includes many magical and mysterious things, like; the curse, The Lady of Shalott herself and the fact the weather reflects the feelings of the lady of Shalott. This makes the poem super natural and it also leads onto the next question, which is the HOW part of the title- HOW did Tennyson make the atmosphere mysterious and magical? (Using the magical and mysterious things) Tennyson used some extraordinary techniques to create the poems atmosphere, the mood of the poem and vivid imagery. Such as: - Pathetic fallary and personification.
She is incorrectly portrayed in the media, as the traits that are commonly left out are her intelligence, perseverance and confidence. Although portrayed as nothing other than glamorous and vain, Cleopatra was, in reality, not very beautiful but made up for it with her intelligence. Her intelligence made her realize very early on that being a pharaoh came with many risks and much danger. At a very young age, she learned to trust very few and to always be on guard, lest she be killed by subjects or advisors like many pharaohs before her. She not only had to be wary of subjects and advisors but family as well, which she learned from the stories of family members that were killed by relatives so they could seize the throne (Schiff 1).
Ada is isolated because she is living in a place that is completely unfamiliar to her and because she is unable to easily communicate with anyone but her daughter. However, not all of Ada’s isolation is forced upon her. Much of Ada’s seclusion is self inflicted. Ada has no desire to interact with the majority of the people on the settlement despite their attempts to get through to her. Camera movement plays a large part in conveying Ada’s isolation.
However as previously stated in my comparison to the character of Amanda I often mask this insecurity through a more confident persona, which Maggie’s character does not do. Unlike Amanda and Maggie’s characters’ sense of insecurity due to their differences to the general public, Eudora Welty writes about a girl named Marian who seems to be just like everyone