Typically, a husband who can’t consummate a marriage should be abandoned without hesitation. When Bertrande is “urged by her relatives to separate from Martin, she firmly refuse[s]” (28). This decision reveals Bertrande’s “certain character traits…a concern for her reputation as a woman, a stubborn independence” (28). Bertrande cleverly calculates the advantages she possesses as a result of Martin’s incompetence. “Her refusal to have her marriage dissolved…freed her temporarily from certain wifely duties…gave her a chance to have a girlhood” (28).
She mentions the example of Patrica Saldarriaga, a professor whose daughter had to celebrate her quinceanera even when she did not want to just because of her father’s status(62). People who cannot affod these lavish celebrations then go in debt which later causes problems. She asks herself “Why cannot they do both?’(62). Why can’t they celebrate their daughters quinceanera and also not go in debt. She feels the need for their culture to be revised to work better for them in the new realities they are facing right now.
Jason says “Cypris was alone responsible,” meaning Medea’s falling in love wasn’t natural but wholly caused by a goddess. Jason identifies and applauds Medea’s reasonings of the “attack on [his] wedding,” to persuade her to believe that his getting married to the princess could end happily for everyone. He tries to explain his reasonings of leaving Medea by first listing the reasons he is not leaving her, followed by a shift, and then telling why he is leaving her and how it could be a benefit to not only himself, but to her and the children also. Jason wisely uses logical placements of sequencing words throughout his speech. “Firstly,” “secondly,” and “next” help his argument because they give his speech some order.
Uphold her mother’s traditions, but her mother’s memory and identity. This is similar to agree to disagree, even though she has been guilty remains not to go back and didn’t finished college she fears that she has already failed to uphold her mother’s dreams. An-Mei Hsu: Scar In this vignette, the author writes, “So I knew Popo wanted me to forget my mother on purpose, and this is how I came to remember nothing of her” (Tan 42). This quote shows that her mother was ignored. This ties to balance individuality and closeness because An-Mei is easily allowing the balance of connection and separateness fall apart with her mother.
She also uses her memories at the “Red Center” as lessons of how to survive in this society. An example would be how Aunt Lydia says that there is more then one type of freedom, there is “Freedom of and freedom from.” Because Aunt Lydia disliked how men took advantage of women before, she means to say that Women are “freer” now then they were before and the girls shouldn’t think it is a kind of imprisonment. Another aspect of her past that helps her in her battle of survival is her best friend Moira. Moira is a figure of hope of a way out for Offred. This is because she escaped from the “Red Center” by using her talents in mechanics and what she liked doing best, being different.
The fact that Antigone is now alone is this process does not slow her down at all; not even after Ismene warns her that the consequence of her actions could be death. “Our own death would be if we should go against Creon.” (Line 46, Pg 774). Due to Ismene’s lack of help, Antigone is feeling betrayed by her sister, but will continue on without her. “But as for me, I will bury the brother I love.” (Line 69, Pg 774). Later on when Antigone has buried her brother, Polynieces, she created yet another betrayal; this time on King Creon.
Similarly, in ‘Tis Pity She’s a Whore, the male character Giovanni asserts his power over Annabella, but Ford does this in the opposite way that Chaucer did. Giovanni is fresh out of university, and during the 1600s logical and manipulative arguments were taught, so he uses his intelligence to lie to Annabella that he ‘asked counsel of the holy Church’, as he knows she is only worried about their love due to her religious beliefs. This shows Ford presenting males, usually the more educated gender of the time, as having the ability to have power over females by arguing using
However, two women in the ancient societies can demonstrate the uglier side of love quite easily. The women are Medea and Dido. They each fall in love with great heros with the help of gods, and each of them made great sacrifices for the men. Medea kills her brother for Jason, which ensures that she will not be able to return back home to her family. Dido doesn’t exactly kill anyone, but she does neglect her city.
The trials start, in which the girls act as though they have a direct connection to God, led by the now powerful Abigail. Townsfolk soon have suspicions of Miss Williams affair with John, Abigail finds this power she has and takes advantage of it. One accusation against even the most well-respected villagers accused of devil worship was prosecuted. Abigail is convinced that after her affair with John Proctor, that he is in love with her, her jealousy of his wife and desire for him gets out of hand, she is labelled a “whore” and a “harlot”. John Proctor – John is an honest, blunt-spoken, good man with a temper.
Shakespeare presents the stranglehold that men have over women and furthers the notion that men view women as items to be controlled in Messina culture. The characterisation of Hero can be seen as offensive to many female critics as Hero’s willingness to be ruled by male figures ’I will do any modest office, my lord, to help my cousin to a good husband’(2/1/346) presents how the Elizabethan society expects obedience from women and Hero helps promote this ideology. However, Leonato’s treatment of Hero addresses how gender relationships, even between family members are highly suggestive of harm. When Claudio slanders Hero, Leonato exclaims ‘vanquish’d the resistance of her youth and made defeat of her’ (4/1/45-46). This is pitifully sad,