Beatrice is cynical and witty; she doesn’t conform when it comes to the role of women in Elizabethan time. In terms of how males view females, there is a theme of cuckoldry (men who married unfaithful wives). This is shown in the first scene when Leonato confirms that Hero is his daughter, ‘Her mother hath many times told me so’, a joke at her expense, implying she is unfaithful to him. In a conversation between Claudio and Benedick, they talk about Hero. Claudio asks if he ‘noted’ her, Benedick tells him he did not, but he ‘looked on her’.
Like a normal man that has an immensely gorgeous girl in her late teens thrown at you, John Proctor fell in sin and committed adultery and had sexual relations with Abigail. This gives Abigail a pseudo-sense of anticipation that they will once be together. But this all twists invalidately, when Proctor shuns her down for his wife and good name. Subsequently Elizabeth Proctor known of this affair and as in result Elizabeth is forced to let Abigail go as the servant in the Proctor house.
Abigail Williams is one of the biggest hypocrites out of all the characters. She is a teenage girl whom had fallen in lust with a married man. As she was working for John Proctor as his servant she went head over heels for his charm. She then had an affair with him and was soon put out of their home by Goody Proctor. The affair was denied to many.
The Friar responds with, “Young men’s love then lies/ Not truly in their hearts but, in their eyes jesu maria, what the deal of brine/ Hath washes thy sallow cheeks for Rosaline!”(2.3.68-90). In the first act, Romeo thought himself to be in love with Rosaline. Romeo had been distraught over the fact that his beloved Rosaline was going to become a nun. Romeo would never be able to love Rosoline, or be with her. Friar Lawrence makes fun of Romeo saying that young men only love what they see.
The simile used in this quote emphasises the lack of fidelity within both texts. Even thought the women are portayed as unfaithful in both texts, so are the men. In 'cosi fan tutte' the men do not participate in adultary however they both disguise themselves as albainians. Their deception is a betrayal of their wives trust. As seen in 'cosi', when the stage lights black out, lewis shares a kiss with Julie, however later on it's revealed that julie has a girlfriend she'd rather be with.
When the witch trials begin, Reverend Hale questions John and asks him to recite the Ten Commandments and misses one Commandment (ironically, the Commandment regarding adultery), and thus begins Proctor’s quest to prove himself not to be of the devil. Later on in the play, Proctor makes a false confession to save his life, however, he tears it up stating “Because it is my name! Because I cannot have another name in my life! Because I lie and sign myself to lies!” (Miller 143). The previous quote is important to Proctor’s crucible because it proves that he has failed his quest and has given in rather than continuing to try and prove he is not an associate of the
‘The Yellow Wall-Paper’ Argues without Argument ‘The Yellow Wall-Paper’ is a complex short story told though the point of view of a sarcastic and insane protagonist, who has rapidly changing ideas about her surroundings, other characters and even her own psychological state. Because of this, readers may come to a variety of conclusions about major plot points and themes. Puzzled, readers will identify the piece as a horror story—a vivid portrayal of insanity with unsettling realism. This is indeed the conscious conclusion that Charlotte Perkins Gilman intends for her readers to form. However, the piece is so much more than a simple horror story; it is a deceptively hidden but powerful essay on female equality and marriage, two topics about which Gilman wrote frequently.
By displaying the repulsion towards the notion of Jeanette falling in love with someone of the same sex with brutal treatment, “…don’t let her out of this room, and don’t feed her.”, after the church learns of her relationship with Melanie, exposes that homophobia is a dated ideology. Thus
“Orientation” meets the criteria for Goldwag’s rule of postmodern fiction story telling due to the way the character contradicts himself within the same sentence, “ This is your phone. Never answer your phone” (484). It is also expressed through the random series of events that appear to lack a plot. However, this is what Orozco is aiming for. He is comparing the real world to the style of his writing, which at first seems messy and insignificant but comes together at the end and
Beginning with David's wig, his vain attempt to pass as a member of a higher society that has already dropped the wig from fashionable dress, and ending with Faulkland's last attempt to trick Julia into admitting base motives for loving him, no one willingly presents things as they really are. In fact, many of the characters lie outright. Fag lies to Sir Anthony for Jack about the son's reasons for being in Bath, and Lucy lies to Sir Lucius about who is writing love letters to him. Other characters simply misrepresent themselves. Jack masquerades as Ensign Beverley in order to win Lydia's love, while Mrs. Malaprop tries to appear more sophisticated by peppering her speech with fancy vocabulary that she neither means nor understands.