But when the baby started to show physical features of black ancestry supposedly inherited from his mother, Aubigny began rejecting them both. His rejection was very noticeable in everyone of his actions. For instance he spoke to her while looking somewhere else and what is more he was never at home and was always avoiding them. Désirée perceived this changed and all the love that she used to see in his eyes had disappeared. As seen above, Aubigny’s vehement rejection of his wife and baby was really perceptible.
Mercedes is also, when talking to Edmond, talking about how fate has turned her old, and her lack of faith his why it did so. Edmond on the other hand held on to faith, and fate has rewarded him. Dumas shows the reader that fate is not possible to control. The Count of Monte Cristo obviously deals with Hatred the whole way through the novel. He is seen saying that he loves his neighbor as he is called to, but still hates certain people.
Willy’s downfall is a result of his reluctance to face his shame, his guilt towards his affair and the way Biff’s life turned out, and the social pressures of success. Willy denies the feeling of shame, affecting him and his family. Willy turns to another woman out of loneliness for Linda, deeply within; his feelings of shame are related to the need of a woman. Shame, inadequacy and inferiority evince the need to “be liked and never want” (Arthur Miller 21). This is apparent within Willy and his sons.
His fingers become covered with a yellow stain and people think that he is hygienically unclean. He forces Toby to do the paper round but exploits him and does not give him his money which angers Toby (221); he has to pawn his rifles. He is referred to as a “sissy” because he initially he does not want to fight Arthur. He abuses him because he discards the almost-empty mustard bottle (171) and when Dwight strikes him despite his finger injury, Rosemary finally knows she must remove Toby from the household.
“There is either obedience or the church will burn like Hell is burning!” (pg 30) Parris tried to defend himself with such passionate and heartfelt comments but Proctor would have none of it. To him Parris was not in his society. Also, his relationship with Abigail Williams was a strained one, plagued with affair, scandal, and betrayal. He did love her, but soon after seeing what she truly was he resented his connection to her and, like what his old true nature told him, he confessed, causing a resent to appear within the town that never gave him his old trust
He has an egocentricity that does not let him be selfless and honest. Now he is trapped in his own misery because he does not want to admit that he is a sinner and that he is wrong. Instead he makes every situation worse. Baldwin portrays Gabriel as an unconscious hypocrite, because Gabriel will never change. He has always been and continues to be the same stubborn, contradictory, selfish Gabriel, and he is not even aware of it.
At the same time, Ryna is abandoned and left with the children, yet her name lives on through a scary, haunting gulch. Carr says‘The community rewards Solomon’s abandonment of his children but punishes Ryna’s inability to take care of them alone’ . This shows the oppressive, sexists attitudes the society in the novel has and portrays the plight Morrison presents black women to
(Act-1, Scene-3, 362-365). Iago is also a very racist character. As Peterson says, “He doesn’t like Othello’s skin color.” He relates Othello to an animal, or sub-human being. He tells Brabantio that his daughter is sleeping with a beast/animal, and that he needs to keep a closer eye on her. He proves his racist nature when he says to Brabantio, “Even now, now, very now, an old black ram is tupping your white ewe.” (Act-1, Scene-1, 90-91) He also says that, “… your daughter and the Moore are now making the beast with two backs.” (Act-1 Scene-1, 117-118) Othello in Ashland didn’t do as good of a job portraying how Othello is in Shakespeare’s original play.
Initially a humble King of Thebes, Oedipus becomes agitated in realizing his futile attempts to avoid his tragic fate. Oedipus eagerness for discovering the truth about his origin despite the negative outcomes embodies the noble, yet tragic flaw of any good king. The Shepherd’s avoidance of the Oedipus’s questioning exhibits the Shepherd’s strong rationality during this scene. He hesitates in revealing the truth to prudently protect himself and Oedipus from repercussions of reality. The Shepherd insists that the revelation of the truth will result in destruction, “I will be destroyed even more if I do talk” (line 1184).
His father was very laid back and accomplished nothing in life and Okonkwo hated him for it. Okonkwo’s eldest son Nwoye is lazy and weak from an early age. Okonkwo’s fear of his father’s laziness rubbing off on his son Nwoye changes Okonkwo from hero to villain when he beats him to make himself more masculine. What he thinks is helping his family is actually causing pain. Okonkwo’s wives are often beaten for the simplest of things, sometimes even for not explaining to him where they have gone.