Creon’s tragic flaw is that he is to prideful. Creon insists on killing Antigone because she disobeyed his decree. When Haimon questions his decision, Creon replies by saying,” I’ll have no dealing with law breakers” (792, 35-36). Creon is explaining to Haimon that he will not deal with any rule breakers and that Antigone will be put to die along with her traitor of a brother. Creon’s pride is what leads to the death of Haimon, his son, and the Queen, his wife.
Curley’s wife has taken complete control of the situation by implying that she would get him lynched, this was typical of the time period the book is set in. Crooks goes from being exceptionally confident and self-assured to not saying anything and trying to make himself as small as possible. “Crooks stared hopelessly at her, and then he sat down on his bunk and drew into himself.” This shows that Crooks feels that he is out of place and certainly intimidated by Curley’s wife’s sudden outburst of hostility, he knows he has no hope of winning the confrontation. Curley’s wife enjoys the power she is exercising over Crooks, knowing that she has the power in their relationship and exercising it
Goneril and Regan pledge their love for their father, while Cordelia refuses to speak and when probed finally states that she cannot “heave her heart into her mouth,” (Act I p.7 96-97) that she loves him exactly as much as a daughter should love her father, and that her sisters wouldn’t have husbands if they loved their father as much as they claim. An enraged Lear disowns Cordelia and splits her share of the kingdom between the remaining two sisters. This is a prime example of the beginning of destruction across familial, personal and social aspects. Lear pits his daughters against one another in a selfish endeavour to boost his own pride, but in doing this he also destroys a very crucial aspect within the monarchy by removing the one daughter who has not saught out to destroy him and the foundation he had built for his kingdom. In disowning Cordelia this breaks the natural order of things because in doing so he has severed the natural bond that a father and daughter share, as well he has personally destructed himself with this decision because he has given up on his favoured daughter.
Overall, the women were upset that their men were never home, thus making an unbalance in their family, leading to an unbalance in society. War not only derives nations, but also the families of the soldiers. Many explanations have raised from the text of Aristophanes play Lysistrata and the theme of Anti-War. “Behind every great man, there is a great woman”, “Brawn vs. Brains”, and “Women, you can’t live with them, and you can’t live without them.” these sayings are loosely based on the play that has occupied our history. The play Lysistrata shows the theme of anti-war through the precise work of symbolism, characters and word choice.
Monuments, a museum, a movie, several books and hundreds of pages written, testify to this persistence. In the Time of the Butterflies is a novel by Julia Alvarez Dominican. Tells the story of the Mirabal family during Trujillo's tyranny. Disclosed as three of the Mirabal sisters assume a political commitment to try to overthrow the Trujillo regime. At the cost of this commitment, the three are harassed, persecuted by Trujillistas, and imprisoned.
They deemed The Crucible was an allegory to McCarthyism. The book follows the events that occurred in Salem, Massachusetts. It portrays from the view point of the girl who started the witch hunt to townsfolk being victimized by the horrible acts of fearful people. The person most responsible for the epidemic of fear is Abigail Williams, a manipulative teenager trying to connect with her lover. Abigail Williams
After Minerva and Maria Teresa are taken away to jail in the capital, "Dede fought down the sob that twisted like a rope in her gut. Violent imagery permeates in most chapters as well, drawing attention to the tension that hangs in the air for the Mirabal family. As a narrator, Dede's use of exclamation reflects her exasperation with her sisters as well as her growing sense of panic. When Maria Teresa asks her to join their revolutionary cell, Dede says it is "As if they were inviting her to join a goddamn volleyball team!" This simile is meaningful since it was the volleyball game of their youth that first drew a line in the sand between Dede and Jaimito and Minerva and Lio, the revolutionaries.
But she paints a disturbingly naive and idealised picture of her own family. The Bhuttos appear as eternal victims of cruel and unrelenting dictators, who stifle the voice of the people, unwaveringly embodied in the form of a Bhutto (first her father, followed by her mother, and then Benazir herself). References to the fuedal landowning family's power, status, nobility and wealth are scattered throughout Benazir's text, and make one wonder if she wouldn't be better off using the argument of divine right, rather than popular mandate, to justify her family's claims to leadership of Pakistan. On the whole, the book is worth reading but I recommend it be done with a pinch of salt. It is evident that Benazir Bhutto belongs to an elite amongst the various Pakistani elites.
It is based on the Greek legend of Oedipus; a story where an Oracle prophesises that Oedipus (the son of King Laius and Queen Jocasta) would kill his father and marry his Mother. With this legend, Graham had the basis to compose one of her most emotionally charged works. As with many of her works, Graham manipulated the piece to make Jocasta the protagonist. She did this to allow the audience to focus entirely on the emotions being conveyed. Graham’s Night Journey tells of Jocasta’s destiny, the triumphal entry of Oedipus, their meeting, new love and intimacy and then their devastating discovery that their relationship is not of husband and wife, but actually of mother and son.
Subsequently, Pecola uses the same tactic in dealing with a violent, late-night quarrel between her mother and father. Instead of stepping in or ignoring the fight, Pecola’s escapist mechanism engages, in which she concentrates on losing herself, body part by body part until she believes she has escaped. Through these two escapes, Morrison establishes a pattern in Pecola’s behavior; that is, when conflict arises, Pecola never makes the first action or establishes any sort of obvious defense. However, Morrison creates the character of Cholly Breedlove, Pecola’s father, as a confrontational, violent man. Morrison first introduces Cholly’s violent tendencies through his fight with Pauline, the same fight from which Pecola tries to vanish.