The central theme of “Nikki-Rosa” by Nikki Giovanni is the true riches in life is family. First, the mother-daughter bond between Nikki-Rosa and her mother shows that her biographers don’t understand that she cares more for her family than money. In lines six and seven, then line fifteen and eighteen through nineteen, Nikki describes some of the hardships she faced in her childhood. “They never talk about how happy you were to have your mother all to yourself” (lines 6 and 7). These lines prove that her biographers didn’t talk about her love for her mother, or basically her family.
Unlike Edith, she couldn’t imagine herself in a role of a woman preparing herself for such a ceremony, such an obligation. Her life was simply oriented on what she enjoyed the most, being with her family in a small lovely town of Helstone. She still wasn’t attracted to this feminine world of marriage, she enjoyed her life free from all worries: “And when the brilliant fourteen fine days of October came on, her cares were all blown away as lightly as thistledown, and she thought of nothing but the glories of the forest.” (Gaskell, p. 21) Margaret’s first love experience came to her as a big shock. When Mr. Henry Lennox proposed to her she was very surprised. For one thing, she felt ashamed and guilty that she was considered as a
Iago is often classified as the embodiment of pure evil to the farthest extent capable of being reached by human. Both Claudius and Iago plot against, torture, and cause the downfall of other characters in their respective stories to create and upkeep a boastful reputation. Both characters know that what they are doing is considerably wrong, but only Claudius feels any remorse for his crimes. They both recognize in soliloquy what they are doing and even discuss with themselves further planning. Iago manipulates all the crucial components of his plot with ease, while Claudius on the other hand is discontent and unhappy with the events taking place.
Or, as Leroy Thomas argues, is she a "Sexually frustrated woman" whose release comes only from gardening? Are the chrysanthemums "a substitute for children," which the Allens are apparently without, as suggested by Mordecai Marcus? Finally, is Henry "Rendered effectively sterile" by a wife who "Secures herself within a fortress of sexual reticence and self-withholding," as indicated by Stanley Renner? These kind of mysterious questions grow out of a more deeply rooted dysfunction between Henry and Elisa a lack of real communication. When Henry approaches Elisa's garden and comments on her impressive crop of chrysanthemums, his business sensibilities cause him to wish out loud that Elisa would raise a cash crop of apples equally impressive.
ENGLISH DRAMA I A Character Analysis of Lyubov Andreyevna Ranevskaya on The Cherry Orchard Drama by Anton Chekov “LYUBOV’S GENEROSITY AMONG HER LOSSES IN LIFE” By Setya Octaviani (121211223034) ENGLISH DEPARTMENT AIRLANGGA UNIVERSITY 2013 INTRODUCTION Lyubov Andreyevna Ranevskaya, the naive landowner of the cherry orchard, is seen as a helpless, poor lady in the novel, The Cherry Orchard. She has two children, Anya and Varya, and has strong feelings for both of her young daughters. Lyubov also enjoys spending time with her brother, Gayev, even though she does not fully portray this feeling to the rest of the household. Lyubov could be characterized as ignorant during her travels in Paris. She met a notably attractive man in the
Immoral acts result in destruction when tempted with ambition and inability to act on the righteous conscience. Some of the many consequences include guilt and regret. In Shakespeare’s tragedy Macbeth, and Mister Pip, written by Lloyd Jones, the characters are hungry for power and their own profit, which only results in mixed emotions of guilt and revenge and eventually, their downfall. Both writers use the theme of ambition and consequences of immoral acts as a conflict and advancement in plot, as their characters carry out impulsive behaviour thinking of only their own profit. As shown by Lloyd Jones and William Shakespeare in their respective novels, too much ambition for power and not being able follow one’s conscience leads to immoral acts that result in nothing but regret and guilt.
Robert Louis Jackson writes that Chekhov is “the creator of dreary, sad often mediocre human type. Russian criticism as a whole, however, has never subscribed to the image of an optimistic or didactic Chekhov”. The great director Stanislavski highlighted the melancholy aspects of Chekhov’s play when staging them. Unfortunately, the error in these initial reactions was not that they were completely wrong, but that they miss the full point. Chekhov’s plays did have bleak elements to them, but at the same time he considered them comedies.
Symbolism in A Doll’s House by Henrik Ibsen During the early nineteenth century, women were viewed as delicate, innocent, and uneducated in the ways of the world, as prizes for a man’s fiscal success. The law treated women only slightly better than it did children. Women could not vote, and they were not considered capable of handling their own financial affairs. It was out of the question for a woman to consider borrowing money in her own name, and when she married, her finances were immediately placed under the control of her husband. It was also considered highly unacceptable for a middle-class woman to work outside of the confines of her own home, therefore, if a woman were to leave her husband, it was exceptionally unlikely that she would find any way to support herself and would consequently lose custody of her children.
Social and Psychological Contrasts in "SHE STOOPS TO CONQUER" Social Contrasts in the Play: When the play opens the audience is immediately presented with some contrasts. Mrs Hardcastle laments the fact that they never go to town, while her husband thinks the people of the town foolish. Mr Hardcastle clearly represents old-fashioned values, and is entirely unashamed of this, whereas Mrs Hardcastle likes to think she is more modern, although it is implied that she is rather pretentious. Their conflicting attitudes are concisely illustrated in these antithetical statements. Mrs Hardcastle, speaking of her husband's long-winded stories as a method for entertaining guests, states: I hate such old-fashioned trumpery.
CHARACTER TRAITS Natella is selfish. Natella is portrayed as a very self-concerned selfish character. Her constant concern for her own needs and wants leads her to even dislike her own son for his father’s constant attention to him. On the day of the coup, she was busy packing her finest dresses and when she left she forgot her own son. In the future, she comes back for Michael, her son in order to get the estates he was to inherit.