He realize that his name is not worth a life. In the end of the story John rips of the confession paper so that he would ruin his children’s name. He would rather die than ruin his children’s life. Elizabeth finally realize that she shouldn’t have judge her husband. Reverend Hale realized that the girls were lying and accuse people for vengeance.
He immediately begins attacking Hester, pestering her with questions and statements such as, "Thou wilt not reveal his name? Not the less he is mine," resumed he, with a look of confidence, as if destiny were at one with him. "He bears no letter of infamy wrought into his garment, as thou dost, but I shall read it on his heart”(83). Chillingworth tries to shame Hester into telling him the truth. He does not know her lover is Dimmesdale at this point so he can only go to Hester and hold the letter above her head, taunting her in a sense, in the hope that she will give in and say the name.
Curley's wife shattered Lennie and George's dream of a farm the same way Eve tempted Adam to eat from the forbidden tree, ending their paradise. By referring to her as 'Curley's wife' instead of giving her a name he depicts how women were second to men, inferring she was Curley's property. Another reason Steinbeck doesn't give her a name is to show that he believes women are minor compared to men; therefore they don't deserve a name. Steinbeck makes a reference to prostitutes in Sandy's place, illustrating the idea that women were just objects in the hands of men making them victims of society. He exposes the idea that "women are treated as nothing more than sexual objects" (Fisher and Silber 254).
She is eager to break the rules of Thebes for her own brother. Issues: Whether Kreon has the power to rule Thebes, both Antigone and Kreon show hubris. Previous History: Kreon does not follow the principles, he acts upon ugly biases. Antigone is headstrong who rather die for what she believes
The poem, Cousin Kate, written by Christina Rossetti is the story of a cottage maiden and how she was seduced and used by the lord of the estate for which she worked. The poem then goes on to describe how she became jealous of her cousin, Kate, as she then went on to marry the lord. The lord had seduced the cottage maiden and used her like, "A Silken Knot" This basically means that the lord used the cottage maiden as a trophy and used her when he wanted to. The poem starts by describing the cottage maiden by saying that she was hardened by "Sun and air" Which suggests that she worked in the fields and the poem goes onto say that she was, "Contented with my cottage mates" This quote suggests that she was happy with the life she led. Then the poem goes on to describe how the lord swept hair off her feet by seducing her by complementing her on her looks.
Here he definitely doesn’t this of his plan of defeat. Furthermore, Romeo said, “… Now Tybalt take the “villain” back again that late thou gavest me for Mercutio’s soul is but a little way above our heads, staying for thine to keep him company”. (3.1.116-121). Inherently, Romeo tells Tybalt to take back his insult for Mercutio’s soul is above them waiting for Tybalt to be slayed and keep him company. Meaning; he should definitely take back his insult or he will be fought and killed for the insult he had happened to have directed at
As some combination of Ms. O'Neal and Ms. Petrini writes, in the synthetic-sounding first person: "I loved my big, handsome daddy and thought if I stopped sucking my thumb, that would prove it. Then, like the angel horse, he would carry me away, taking me home to live with him." The book then gives this "angel horse" the full "Mommy Dearest'' treatment, with scandalous stories of his wild partying and wilder temper. One humorous family ritual involved mimicking the way Dad foamed at the mouth. But as "A Paper Life" innocently explains, a sexual overture from one of her father's girlfriends provides "the motherly glow I was always looking for."
A world that was like my childhood: tea parties, dances in our ballroom, circus performers coming to perform just for me.” But none of this is actually true. As Cherry reveals to Lewis towards the end of the play: “He spent most of his early life in orphanages and being farmed out to foster parents who, realizing what a nut case they had on their hands, put him back, quick smart.” Roy is delusional – but the delusions are a way of coping, of making sense of things: “Without this opera having been composed, there would be a clanging, banging, a bedlam all around us.” He is constantly critical of Lewis, belittling him as a director (“every day after rehearsals he came and complained to me about your direction,” says Justin), deriding the relationship between him and
Tybalt clearly is motivated by self-interest because he mainly thinks about defending his pride, and thus, has the urge to kill Romeo at a party without thinking about the disgracing the Capulet name. The next day when Tybalt confronts Romeo, he accuses Romeo of being “a villain” and fiercely demands that Romeo “turn and draw” because he is unwilling to “excuse the injuries [Romeo] hast done to him”(Shakespeare III. i. 62,67-68). Tybalt challenges Romeo to a duel to regain his pride and therefore shows self-interest because he blinded by rage and his thirst for revenge.
This discussion mainly sets out to examine gardening as an art and understand its importance for the inhabitants of urban areas in south-eastern Europe, which are “drowning” in concrete. In fact, gardening is an ancient activity if we review the human history. It has its origin in the book of Genesis in the story of the creation. As I think about the art of gardening, I reflect on the Garden of Eden in the Old Testament. God created man and woman to be the keepers of a divine place where there was no pain, no worry, no tears but only happiness and joy.