The colleague can see that the baby grimaces which then leads on to the baby crying. Despite this the colleague thinks it is funny and just watches the baby pull faces, this is known as neglect. The baby is also being emotionally abused since the colleague does not respect the baby’s
Hamlet finds it difficult to carry out his revenge before he realises that there is a “divinity which shapes us all”, as he is caught up with the concept of death and troubled by his own inability to act. Hamlet is deeply upset by everything which his happening around him, especially his mothers “incestuous’ relationship with Claudius. He is extremely critical of himself, often calling himself a “coward”,” pigeon livered” and “lacking gall” as he cannot just kill
Especially when she reminisces in the final stanza about the time she was young and beautiful, illustrating her complete lack of confidence. Nevertheless, she is still presented as a foul character who threatens the reader, with the line ‘Be terrified’. The poem also ends with the line ‘Look at me now’ which has a double entendre (double meaning). It could be read as a cry of despair or, as a threat – if you did look at Medusa you would die! This leaves the reader feeling conflicting emotions for the character, probably similar to how Medusa herself feels in the poem.
Gellburg’s response to Slyvia’s outburst is not evidently displayed through speech, but through the use of Miller’s stage directions: ‘He is stock still; horrified, fearful’. The words ‘horrified’ and ‘fearful’ suggest that the news of such events came as a shock to him and undoubtedly indicate that he is affected by such news and is also stricken by Sylvia’s powerful, unexpected revelation of her feelings. Miller conveys the message that that Gellburg finally comes to understand his ignorant attitude as one that has led to his self-denial and self-hatred. It later becomes clear in the play that Gellburg is suppressing an important part of who he is, and in scene eleven, he confesses to a bottled-up desire of ‘going and sitting in the Schul with the old men and pulling the tallis over my head’. Sylvia, in her frustration with Gellburg, says ‘Don’t sleep with me again’ in a rather commanding manner.
How intense were the behaviors when demonstrated by the client? behaviors were very intense when demonstrated. very vivid hallucinations of three individuals who are clearly apart of his disorder. believes the soviets are an enemy and trying to harm him when they are just apart of the psychiatric ward. believes there is some type of chip in his arm and tries to dig out the chip in his arm but it really doesn't exist.
In Section 1, Eliot immediately points out the sense of stasis the hollow men feel by calling them the “Stuffed men”. This immediately implies they cannot move and gives us connotations of scarecrows, which are stuck in one spot. Other language he uses in the first section to describe the stasis is “paralysed force, gesture without motion”, and “lost, violent souls”. This again shows the stasis the hollow men feel and “lost, violent souls” gives us connotations of purgatory. The structure Eliot uses in this first section has no obvious rhyme scheme and seems very irregular, which shows us that the hollow men are lost, and cannot escape, yet again showing stasis and the oddness of the “purgatory” they are in.
Again this presents the idea of being the unreliable narrator as he fails to perceive the sinister way of Heathcliff’s living. As an audience a feeling of mistrust and even dislike is built for Lockwood as he constantly misjudges events, which could even evoke frustration from the audience as his complete incompetence and lack of understanding immediately allows him to fall out of favour with Heathcliff, and furthermore presents his clumsy character. In addition to this, Lockwood also misreads Heathcliff is by being totally unaware of his body language: ‘my heart warmed..when I beheld his black eyes withdraw so suspiciously’ this quotations presents how Lockwood is completely oblivious to the recluse body language of Heathcliff, which strongly suggests he is uncomfortable in Lockwood’s presence. Furthermore, the fact that his ‘heart warmed’ when seeing Heathcliff react so strangely to
Shakespeare seems to be suggesting that while love may flourish, its course is not entirely rational. At the beginning of the play the audience sees Helena heartbroken, pathetic, depressed, and desperately trying to gain Demetrius’ favor. He harshly rebukes her, “For I am sick when I look on thee”, never showing any affection towards her. Helena persists, even while there is no rational reason to be in love with Demetrius, “And I am sick when I do not look on you”. Demetrius continues through the forest, verbally beating Helena.
This poem expresses the pain and sorrow of a battle that someone is fighting against themselves. Someone who is tore between her aging self and her youth. The woman knows that she is no longer a child but she’s having a hard time letting that part of her go because she feels that her youth is the only good thing about her. “Then she turns to those liars, the candles or the moon,” indicates that the woman turns to those who only throw lies at her, the lies that she wants to hear. Candles and the moon don’t swallow the image of what stands before them yet they reflect off a brightness, a lying goodness.
When having heard an owl, she cries ‘Hark, Peace!’ This remark shows you that she is jittery, as on a normal occasion she wouldn’t have even noticed the owl because based on what we know of her character so far she isn’t the jumpy type of person. It’s also slightly ironic how she calls out for ‘peace’ because you automatically make the connection to god’s peace: whereas the audience all knows she is damned. You also surprisingly see a psychological vulnerability in Lady Macbeth. She tells Macbeth that Duncan ‘resembled my father as he slept,’ and if it weren’t for that she would have murdered him herself. This is wildly contradicting her cold persona.