However, the idea of women being unequal to men is quickly dispelled by Webster who appears to mock the misogynistic characters of the play and indeed, very possibly the misogyny of society as a whole at the time. This is most apparent through his evolution of Vittoria as a character and also a symbol of the downfall of sexism. This is most striking when considering Flamineo’s comment that “[perfumes, when chafed] expresseth virtue, fully, whether true, or else adulterate.” Portraying a key theme throughout the play of a true nature disguised beneath a thin veneer of sweet nothings. This facade of Vittoria’s is first revealed to the audience through her manipulation of Bracciano in her dream sequence. Whereby her constant play on the word “yew/you” (“both were
Abigail is precisely diametrical to Elizabeth. Abigail represents the repressed desires that all of the Puritans possess. Abigail is wicked and confident and is not fearful to take control of situations. This is shown when she is with Parris, Abigail is courteous on the surface but she hides her anger and disrespect. She talks back to defend her name and in Act One, she suggests to Parris," Uncle, the rumors of witchcraft is all about; I think you'd best go down and deny it yourself."
How does Sebold use representation of speech and to her stylistic techniques to present the character of Grandma Lynn in the novel? It is clear from the start that the character of Lynn is to be perceived as a flamboyant and abrasive character, though still has a caring element, although this does come about in rather an unorthodox manner, this emphasises Lynn’s eccentric nature. From this episode the audience witnesses the beginning of Lynn’s mission to turn the grieving house upside down with her wild behaviour and give the Salmons the thing they need most: that there is life without Susie, with her abrasive personality providing the audience with subtle humour. In the novel, we are first introduced to Grandma Lynn in a way which suggests she lives glitzy lifestyle, “She liked to hire limousines and drive in from the airport sipping champagne while wearing what she called her ‘thick and fabulous animal’”. Due to this being the first thing we are told about Grandma Lynn and the fact we are told this is in fact her ‘usual style’, the reader can infer that this is the first thing that people see when they notice Grandma Lynn, and this is also the first thing that Susie remembers of her Grandma.
Through Another’s Eyes: Point of View in “The Yellow Wallpaper” In Charlotte Perkins Gilman’s “The Yellow Wallpaper” the narrator’s point of view through first person narration gives the story it’s truly intrinsic tone. As the reader is lead first hand along one woman’s descent into madness, the fact that this story is to an extent autobiographical further increases the importance and appeal of the first person narrative. The story in itself has a deceiving prose, with the narrator initially appearing upbeat by the use of exclamation marks, sarcasm and humor but revealing to the reader that she is considered mentally ill by the outside world. Gilman’s personal experience with the depression and treatment described in the story undoubtedly comes forth in her ability to narrate “The Yellow Wallpaper” in such a believable manner. The narrator’s delivery from start to finish keeps the reader off balance, thus adding to the frightening style and evolution of the story.
Elizabeth Doherty is a good natured though gusty but vulnerable woman. She functions in two ways: to appeal to us – enlisting out sympathy and getting us ‘on side’ with the rebels as well as exemplifying more clearly perhaps than any other character the socio-political situation which Friel is demonstrating. Lily is not the brightest crayon in the box. She is an uneducated woman, barely articulate, who has difficulty even understanding why she marches. She acts as a central part of the authors messages.
On one level The Great Gatsby, by F. Scott Fitzgerald comments on the careless gaiety and moral decadence of the period in which it was set. It contains innumerable references to the contemporary scene. The wild extravagance of Gatsby's parties, the shallowness and aimlessness of the guests and the hint of Gatsby's involvement in crime all identify the period and the American setting. But as a piece of social commentary The Great Gatsby also describes the failure of the American dream, from the point of view that American political ideals conflict with the actual social conditions that exist. For whereas American democracy is based on the idea of equality among people, the truth is that social discrimination still exists and the divisions among the classes cannot be overcome.
In MacBeth, we see a dramatization of man versus woman. It is, in fact, easy to view MacBeth as the victim of women; Lady MacBeth’s towering ambition, as well as the victim of the witches’ bad intentions. In support of this, Sigmund Freud suggested, as cited in Dr. Caroline Cakebread’s essay, “MacBeth and Feminism,” that Lady MacBeth’s singular raison d’etre is to overcome “the scruples of her ambitious yet tender-minded husband… She is ready to sacrifice even her womanliness to her murderous intention…” However, the feminist point of view seems to dismiss the notion of Macbeth as the victim of these multiple feminist plots, reminding us that it was he, MacBeth who killed Duncan, and Lady MacBeth who was left to sort out the mess. This male v. female power struggle is further intensified when viewed through the feminist lens, owing to the fact, described by Janet Adelman, that “In the figures of MacBeth, Lady MacBeth, and the witches, the play gives us images of a masculinity and femininity that are terribly disturbed.” (92). A feminist theory approach might have one interpret “Fair is foul, and foul is fair” as a clarion to the sexual ambiguity in the text.
A genius idea came to her and she decided that she would go off of the Declaration of Independence which was written about how Great Britain tried running our country and how they completely took advantage of us. Instead of stating how Britain treated us wrong, she substituted women as the United States and put men in as Great Britain. What the womens Seneca Falls Declaration stated was how women could not own property once they married and how that was completely unfair. It also described how it was against Proper Victorian culture for women to speak in public. Any money that women had was technically not their own money.
However, Lady Macbeth is much stronger, and more decisive, ruthless as well as aggressive, especially when she is facing death. In behaviors, Macbeth acts so weak that he is subordinated to Lady Macbeth, which is totally conflicted to the social gender convention. Macbeth is so indecisive in decision-making that he vacillates between murdering the King Duncan or not, and eventually he still cannot make his own mind. Instead, Lady Macbeth is aggressive as well as consistent, and she helps her husband make decisions, and also comes up with a plot instantly. She only concentrates on personal benefits so that everything else can be sacrificed.
However, being brought up on the island away from the restrictive attitudes of society, Miranda challenges the prejudice of women. This is shown when Miranda calls Caliban an “ahorr’d slave.” Miranda is used here as a device to show that hierarchy means nothing on this desolate island (or as the boatswain says “what cares these roarers for the name of king?”). Despite this, Prospero’s control over Miranda (“What I say./ My foot my tutor?”) Enforces his status and reminds the audience of his power Due to being the only woman on the island, Miranda also becomes an object of male desire. Within the play this serves the purpose of underlining the tempestuous conflict between the men, becoming something of a ‘prize.’ Miranda is heavily romanticised throughout the play, especially