The final line “Who could not say, ‘Tis pity she’s a whore?” can be seen as directed towards her and so she is blamed for everything that has occurred. Throughout the play she is seen as quite powerful and headstrong by refusing many marriage proposals and being quite stubborn in doing so. However, she is reduced to a weak being however upon dying which is a culmination of her passions. It is perceived that women are a danger to men and to society as a whole and so Giovanni’s actions are to be blamed not on himself, but on Annabella because of the beauty she possesses. Giovanni states that Annabella’s “lips would tempt a saint” thus showing the corruption her presence inflicts upon even the supposed innocent of men.
However when passion gets in-between justice to voice of reason is muted. To begin, sympathy is given to Medea when first introduced that her husband, who she has sacrificed literally everything for, has left her for another woman. Medea changed herself to fit the standards for a Greek wife that society had molded, but had no success. She could not understand why he would do this adulterous crime that breaks the logical code of general conduct in ancient Greece. This conflict raises the value of passion over justice because Medea takes whatever steps necessary to achieve what she believes is equal
Both women are contrasting representations of Hedda. From the opening of the play her [Hedda’s] relationship with Aunt Julie is a strained one. Hedda views Aunt Julie as a symbol of what she herself loathes and could at the same time could quite easily become. Aunt Julie epitomises the idea of the domestic, dutiful woman with no true purpose of her own. She instead finds her purpose through the lives of the male characters and the arguably mediocre success that Tessman has had.
Both conflicts are important as they can either act as an insight into a character’s mind, serve as a moral to the story, or even as a way to show relationships between characters. In “Chronicle” there is a love conflict where the ‘labeling’ as to who is ‘evil’ and who is ‘good’ is greatly affected by both the reader’s perception and the character’s perception. This conflict is between Bayardo and Angela – he rejected her when he discovered that she was not actually a virgin. This conflict was revealed when Bayardo brought Angela back to her house, where she was then beaten by her mother. In this case, even when some readers might agree with the character’s perceptions, their reactions are thought of as too exaggerated and unnecessary.
In the attempt to save her husband s life and pride, she secretly borrowed money to use for his recovery from a deadly illness. She is then faced with the consequences of her dishonest practice, even though her intentions were always honorable. Feminist ideas are clearly presented all through the play, but are most easily seen in the dependence society put on women, Nora’s changing definitions of freedom, and Ibsen’s portrayal of women as self-sacrificial and cunning, using society s view of them as a foil. Ibsen’s play, A Doll’s House uses Nora, the main character to portray how woman were treated in the 19th century. Nora’s husband, Torvald constantly talks down to her, as if she were his child, instead of wife, “HEL.
Bradstreet also shows her insecurity when she says, “Nor can I, like that fluent sweet tongued Greek” (129). Lee Oser believes that she lingered over the Greek’s traditions on natural beauty (194). Although Bradstreet has great dreams, she knows her limits as a woman and is left only to dream. Bradstreet soon becomes depressed and grows angry at her state in society, because of envy and her continuous dreaming. John Winthrop says, “God Almighty hath so disposed of the condition of mankind” (107).
Although critics disagree on how the vastly different gender perceptions within the play are used to portray the theme of women’s power within law and justice, all of their arguments tie back to the fact that the women in the story act as a surrogate for the female society of that time, showing them that they have more power than they realize. Phyllis Mael asserts in "Trifles: The Path to Sisterhood," that the evolution of the women's relationships from acquaintance to co-conspirators illustrates the female psyche. Mael says the she feels the play's "moral dilemma" stresses the inherent differences between male theoretical sense of morality and female sensitive ethical sense which includes "moral problems as problems of responsibility in relationship" (Mael, 282-83). Although the women draw closer to solving the crime as the men, using "abstract rules and rights," make comments that "trivialize the domestic sphere," ethical agreement comes only after Mrs. Peters moves from "acquiescence to patriarchal law" to
Love and family are very important to her. She is also an obliging woman. Yet they all have a virtuous lie in different purpose. Raimunda have an unusual degree of self-reliance and mental toughness. She treated with the cadaver of her husband imperturbably after her husband was killed by her daughter.
Her story, although we might not know if they’re completely true, tells of a woman who knew how to use her resources to gain the maximum out of her life. The men in her life were, for the most part, submissive, scared, and a little tortured by her. That is no way for a man to act, so to get them so willing, she had to have some power over them. As much as I respect her and really like her abilities, she does have a couple downfalls. She’s pretty disrespectful and with her fifth husband, they only way she got anything was because she hit him.
The following actions show that she is strong, determined, and fearless as no everyday women were of that time. Even after Jason left Medea for Glauce she was still seen as a strong character, even though at times she was seen as an emotional wreck. In revenge for Jason's betrayal Medea killed her children to see Jason hurt. The actuality that she seeks revenge is fascinating because women were not expected to be violent. Another aspect of the book that I really liked and thought that made a great contribution to the play was the involvement of the chorus.