Lady Macbeth states that “The sleeping and the dead/ Are but as pictures” (2.2.56, 57). Lady Macbeth is emotionless because she feels that death and sleep are exactly the same. She tries to convince Macbeth that murder is not as great of a sin as he thinks it is. Lady Macbeth feels no remorse in her and Macbeth’s actions due to her greedy and cruel personality. In addition, Lady Macbeth proves that she is more rational than Macbeth.
Death in the story doesn’t seem to embody the idea of the Grim Reaper but rather the opposite. She isn’t threatening or evil where as the popular conception of death are threatening, evil and an ominous figure. In the story when Death is introduced by the servant, he establishes that she is a woman by saying “I was jostled by a woman in the crowd and when I turned it was Death that jostled me” (Maugham 1). She doesn’t seem threatening and intense as represented by the Grim Reaper. The Grim Reaper usually is a male that doesn’t show his identity because he hides under a dark robe.
Now some could say that she is in need of being saved from her vampire personality, but in a physical sense of things she is completely self-sufficient. Carter is trying to show that the conventions and stereotypes in Gothic literature are simply results of following a traditional form, and should not bare any oddity in logical terms. She is preventing this role reversal as a completely normal and possible thing, and she succeeds in doing so. Despite this viewpoint that the reader sees, the man does not necessarily feel as if he is the victim. he is impervious to the mysticism of the house and furthermore the woman.
Through the Frankenstein family, Shelley is making a statement on blind acceptance of fate. She is implying that often when we believe fate is to blame, in reality, something we simply do not understand the true workings of (or are ignorant to) is the true cause of our happenings. In addition, because we stubbornly stick to the idea of fate and neglect any other source, we are unable and unfit to prevent further disasters. However, she also portrays the family as being almost perpetually joyful. It is only when “fate” strikes its blow that they become downtrodden.
Another reason their relationship is dangerous is that if John Procter were to prosecute against Abigail Williams saying that she is in fact a witch, Abigail Williams could very easily tell the entire town that she and Procter have been having an affair to get revenge on him. It wouldn’t really affect her too much, but on the contrary, it would ruin his reputation in the town and his relationship with his wife. Later in Act I, Abigail is being “interrogated” by Reverend Hale and she claims “I never sold myself! I’m a good girl! I’m a proper girl!” (Miller 40) in this statement, Abigail is defending herself that she never sold herself to the devil.
After falling, she wonders if the plague is really a test of faith sent by God, or the evil working of the Devil in the world, or maybe neither… Maybe, it was “simply a thing in Nature, as the stone on which we stub a toe.” Throughout the novel, Year of Wonders, we are shown what such a brave and courageous character Anna is. Anna is an independent and inspiring character, though she has many strengths, like any person, she also has her weaknesses. If Anna did not have weaknesses, we would not be able to relate to her and would be unrealistic; she would be seen as “too good to be true”. Though Anna has her weaknesses, she does not let them get the better of her, this is why Anna is such an inspiration and a role
Although Dorothea was not a psychologist or therapist of any kind she knew that improving conditions for the mentally ill would help them. In one of her testimonials to legislature she shared this “some may say these things cannot be remedied, these furious maniacs are not to be raised from these base conditions. I know they are…I could give many examples. One such is a young woman who was for years ‘a raging maniac’ chained in a cage and whipped to control her acts and words. She was helped by a husband and wife who agreed to take care of her in their home and slowly she recovered her senses”.
in "A Good Man is Hard to Find" the grandmother is out for herself she is far more sinister than she tries to lead other people to believe. Watching her children and grandchildren being murdered one by one, she is only sitting back thinking about how she's going to spare her life not having a care about what is happening. She only wants to see how she can convince the misfit not to take her life as well. The misfit is pure evil he seems to have no remorse for his actions, and cannot understand why he has been given the life he is living. He has proclaimed his innocence all along, or either denied any wrongdoing.
So, Victor Frankenstein was guilty as he created the creature, and left him alone. Victor caused Frankenstein’s monstrous appearance and his appearance resulted in misunderstandings about the creature. The main point is that the guilty one of these misunderstandings, the creature’s appearance and his exclusion from society was Victor Frankenstein, the creator. Particularly by focusing on the given passages 15, 16, and19, I will try to show how far away Victor is from humanity. Before Frankenstein creates the creature, Frankenstein goes graveyards to collect dead body parts with an aim to accomplish his ambition.
As a result of Hedda’s catty personality, the audience cannot draw pity or fear from what becomes of her and therefore she cannot truly be considered a tragic figure. The reason being Henrik Ibsen writes Hedda Gabler as a social problem play, and although it and its characters may contain elements of the tragic, Hedda Gabler is not meant to be viewed tragedy. What Hedda Tesman boils down to is nothing more than a selfish, bored and manipulative housewife with daddy-issues. As daughter of General Gabler, Hedda is accustomed to luxurious, yet rigidly militant lifestyle; thusly, all Hedda wants is independence. However, she acts in ways counterintuitive of her want: she decides to marry an amiable scholar with whom she shares no love, connection or feelings.