At first Pierce believes it is only a toy gun but Ardal keeps insisting that the gun is real and refuses to back down even when Miss Purdy tries to intervene. Frightened by Ardal’s attitude, Pierce says that he never wanted to marry Miss Purdy and begs for his life. The plot reaches its climax when Ardal shoots Pierce. The conflict is resolved with the falling action: it turns out that Ardal’s gun really is a toy and Miss Purdy angrily breaks up with Pierce. The internal conflict- Ardal’s feelings for Miss Purdy is also resovled when he tells Miss Purdy that he doesn’t deserve to marry her either because he can’t cater to all her needs.
When people want something badly, they will do anything to get it. The Devil will give them an apparent easy way to obtain their goals, but the way they expect it to happen does not always turn out so. In “Where Are You Going, Where Have You Been” by Joyce Carol Oates, when Connie wanted to get away from her parents, and be the sexually mature person she appears to be; the devil appeared as the answer to all her problems in the form of the deceptive and omnipotent Arnold Friend. Arnold is introduced in the beginning of the story taunting Connie “Gonna get you, baby.” The devil is known to taunt people. After Judas betrayed Jesus and received his silver, he was taunted by the devil until he killed himself.
The idea that “The Fall of the House of Usher” is in part an investigation into sexual motivation and sexual guilt complexes has often been hinted at but never critically pursued as the dominant theme in the tale. But such a reading is at least prepared for in important essays by D. H. Lawrence and Allen Tate which make the essential recognition that “The Fall of the House of Usher” is a “love” story. (1) Lawrence and Tate, however, mistakenly attempt to purge the love concerned of all physical meaning. What they see Usher wanting is possession not of Madeline’s body but her very being (Lawrence, p. 86). Theirs is essentially an anti-biological reading of the tale in which the Poe hero tries in self-love “to turn the soul of the heroine into something like a physical object which can be known in direct cognition” (fate, p. 115).
Basically he just wants her to be 'shown off' as little as possible. We could say that this is parental worrying but having the audacity to go to the extreme of thinking of not even giving her a chance to stand on her own feet, clearly eliminates the idea of parental concern. The fact that he states that “The heads are turning like windmills” knowing that those ‘heads’ turn to every woman passing, reflect his jealousy rather than his care. This establishes the idea in the reader's mind that he is 'over-protective' about Catherine in the context of a lover. Having this level of Dominance towards not a daughter, but a niece, is very uncommon in the real world.
She asks him whether he’d shoot a lady. He never actually says he would or wouldn’t, he just says “I would hate to have to” (190). The grandmother considers being a lady moral and the Misfit’s answer proves that he doesn’t have the same morals as she does. She fiercely calls him a “good” man, hoping he wouldn’t deny it. Her use of “good” is bias since she states he is not common.
Over drinks, Frances confronts him about his wandering eyes and questions his love for her. Michael’s way of looking on women as mere bodies could suggest a kind of degradation, which is to define a woman only as an erotic or sexual figure. Michael reveals that he loves the way women look and when Frances asserts that one-day he will be unfaithful, Michael agrees with her. Frances feels that the day is now ruined and resorts to calling the Stevensons. The universal truth behind this story is that the innate differences between men and women coupled with lack of communication will cause a marriage to stagnate and become an uneasy compromise.
He then drills her with a series of question because he thinks she maybe plotting revenge on him by secretly seeing another man. When he is assured that this is not the case, he attempts to leave for the race again; only this time he tells Jeanne that he wants her to stay home all together. They discuss it for a moment and he finally guilt’s her into staying at home and the scene ends. The first thing that captures my interest about this play is the fact that I love to read comical literature that portrays real life and this play is a farce. “A farce is [also] a comedy, a play, in which both subtle humor and hilarity are developed through improbable situations, exaggeration, and antics” (Clugston, 2010).
As you can see this story is not about young, dreamy love or affection, but about a boy coming to a realization that his idealistic desires for the opposite sex were childish and foolish. So when exactly did this realization or epiphany hit the narrator allowing him to understand that his obsession with Mangan’s sister was not of true love, and why did he come to this realization at the time that he did? This is the question that I would like to discuss in further detail. People who have read “Araby” know that the narrator decides to give up on his fascination towards Mangan’s sister only after visiting the bazaar and talking to the lady working there, but why? Why did he gallantly agree to bring a gift back to her when talking to her in person at first, but when arriving at the bazaar was too timid to buy anything for her?
The audience is caused to fear Othello's transformation into the ''green-eyed'' monster, then pity him when he claims his title in blood. The most significant flaw that Othello possesses is jealousy, however, he was not moved to it immediately. “She has deceived her father and may thee.” Iago says to him in Act 1, Scene 3. This was an attempt to convince Othello that Desdemona has or could commit adultery since she has already proved to be capable of going against her father's will with their marriage. However, Othello informs Iago that he is not a jealous man.
Additionally, he’s so overcome with obsession and affection for Erica that the significance of her dead lover, Chris, towards her goes unnoticed. Changez appears to ignore Erica’s lack of desire when attempting to have sex with her, such is his desire. Despite everything, they do form a tight bond, albeit a very one-sided affair with Changez desperately wishing for Erica to sort herself out... even wanting to shout at her, ‘he’s dead!’ Yet ultimately, Erica’s significance on Changez is for all the wrong reasons right up till her supposed suicide, when Changez is preoccupied in Valparaiso. The novel also hints at the importance of Jim, Changez’s superior, and how he brings a determination in Changez that’s unrivalled