Malvolio’s major flaw is self-love; and this trait leads him to be prideful, value himself above others, and believe that he is the victim in any given circumstance. Malvolio’s deep pride in himself makes him feel a deep sense of achievement and perceived prowess in courtship. While conversing about Olivia with Sir Toby, Sir Andrew, and Fabian, Malvolio remarks, “To be Count Malvolio” (2.5.34). Here Malvolio is showing his ambition to climb the social ladder by courting Olivia, who already has many other suiters, including Sir Andrew and Orsino. Malvolio is showing that he does not really love Olivia, but just wants to use her to rise in status.
Marriage Fantasy is an escape which almost everyone can exploit in times of desperation and hopelessness. However, it is not equal to the contentment that execution brings. Passage 1 is about a man that is “too young” and “too full of the sap of living” who is forced to live by the side of his wife, whom he detested, and who chooses the practical decision of staying with her than pursuing his happiness with the woman that he wishes to be with, Mattie. The author captures Ethan’s begrudging attitude towards his hopeless and detached marriage by the dejected tone, third person narrative, symbolism and the restrictive setting of the piece. The author commences with a description of Ethan’s “cold” and “dark” study.
She deliberately follows through with her marriage to Edgar Linton, despite her open proclamations of love for Heathcliff, with whom she grows up and loves irrevocably, only to unceremoniously abandon because of his insufficient societal rank. She knows that Heathcliff feels devastated, yet does not believe that she has been disloyal to him. She is too blind to see past her own momentary desires. As a result of her betrayal, Edgar and Heathcliff are tossed into a downward spiral of competition, jealousy, and heartbreak. Edgar loves Catherine unconditionally, but knows he has been rendered second-best to a man for whom she holds deeper affections.
Nora in particular finds herself exploited by the men in her life. ‘Am I not your husband?’ refers to Helmer’s demand that Nora please him sexually and that it is obligatory for a woman to do so. ‘I’ve been greatly wronged, first by my father and now you’ – Nora explains how she has come to terms and realizes how her father and her husband have only treated her like a child all this time. She now understands that this is a form of oppression and desires to break free from it. In addition the theme of deceit is examined.
"(PROLOGUE 16-28)" In those lines Antigone shows that her “love” for her brother will leave her “hating” her sister. Ismene is fearful of burying Polyneices, “But think of the danger! Think of what Creon will do!” (PROLOGUE 34). Her devotion to her family is not as strong as Antigones. By accepting the obligation to bury Polyneices, Antigone acts as if she has no choice.
The Helmer’s marriage is, on the surface, a very happy marriage. Nora and Torvald are loving and affectionate towards one another. Torvald addresses Nora with a myriad of pet names that she seems to enjoy. One could argue that these names are condescending, but Nora doesn’t seem to mind. It is only when one hears pet names from someone one does not love that they are condescending, and until the climax of the play, Nora genuinely loves Torvald.
To what extent does the relationship of Catherine and Heathcliff show the breakdown of moral and social codes? Bronte creates an extremely complex relationship between Heathcliff and Catherine with them experiencing various struggles in their relationship, their decisions of how to deal with these struggles leave us questioning at first the characters themselves; their stark contrast in class, Catherine’s decision to rebel against the social trends, the way in which we never see the happy ending with them happily together and Catherine loving another man whilst married, but also Bronte and whether she is providing us with an authorial insight into her views of the social of moral codes of society at the time. Throughout Wuthering Heights Bronte displays to the reader the natural love that Heathcliff and Catherine develop for each other from an early age, “Nelly, I am Heathcliff!” This quotation that comes early on in the novel, in chapter nine, and illustrates how they have merged together despite the large difference in social status, the word “am” supports the idea of them merging as Catherine claims she is “Heathcliff” and together they are one person, one identity. Catherine’s desire to be associated with Heathcliff would be seen as unusual as people’s social status was particularly important to them and by getting involved in relationship with a “dark-skinned gypsy” it would diminish any reputation gained previously. Bronte may have done this simply to illustrate how Catherine will always have strong emotions towards Heathcliff regardless of their differences in wealth and background.
It is also interesting to note that Iago speaks so kindly of Desdemona, which is likely due to the fact that he loves her, but, he will is planning a scheme which will no doubt crush her. Iago claims that it is “out of her own goodness make the net that shall enmesh them all.” Iago reveals that his plan relies on Othello’s true love for Desdemona, which Iago is attempting to crush. Iago believes that Desdemona has the ability to convince Othello to do anything because “his soul is so enfettered to her love”. He also believes Desdemona knows this, which is the
Love is much stronger and can withstand the testing of times. Love usually strikes you when you know the person well. In love, you like the person and all his/her aspects after knowing them, while infatuation is based on your assumptions about a person. When a certain person infatuates you, you are unfamiliar to them and you do not know much about them. Once you
But if an account reaches a certain threshold, a very special emotional reaction is triggered -- romantic love. We no longer simply like the person -- we are in love. It's a feeling of incredible attraction to someone of the opposite sex.” As a result of love, the intensity of the affection continues to gain momentum and the two lovers become deeply affectionate for one another; society has established that sex is the ultimate and most essential part of loving one another. Tradition, peer pressure, expectations by the culture of the region where the lovers are residing, and, even a person’s own personal psyche, which could potentially consider that sex is the next step that they must take to consummate their romantic