“Fight vs. Flight” is an essay that describes a mother’s awaking to one daughter’s superficiality and to the other daughter’s deep understanding of heritage (179). “Fight vs. Flight” goes in to great detail about the relationship that is shared between Dee, her mother, and Dee’s younger sister Maggie. Fuller explains the different views and opinions of the different characters throughout the essay, mostly focusing on Dee and her mother. According to Farrell, those who read the story would tend to agree that Dee is a shallow and manipulative young lady who is overly concerned with herself and lacks the true understanding of her heritage. According to Farrell, the story is being told by her mother and suggests that Dee may not really be the bad person that everyone claims she is (179).
Riley Walters October 26, 2014 “Everyday Use” Character Analysis The Character of Mama in “Everyday Use” Mama, the narrator of Alice Walker’s story, “Everyday Use,” is a strong, loving mother who is sometimes threatened and burdened by her daughters, Dee and Maggie. Gentle and stern, her inner monologue offers us a glimpse of the limits of a mother’s unconditional love. Mama is brutally honest and often critical in her assessment of both Dee and Maggie. She harshly describes shy, withering Maggie’s limitations, and Dee provokes an even more pointed evaluation. Mama resents the education, sophistication, and air of superiority that Dee has acquired over the years.
Lydia plays an important role in the story despite the primary focus being on Elizabeth and Mr. Darcy, and their love that develops throughout. Lydia is a foil to Lizzie in many ways; both on an individual level and in terms of their comparable relationships and eventual marriages. Lydia is “untamed, unabashed, wild, noisy and fearless”, and is constantly mocked by Austen in the form of comedy of manners. It is interesting that from the beginning of the story Lydia is made to sound like her mother; “Oh!” said Lydia stoutly, “I am not afraid; for though I am the youngest, I’m the tallest.” The exclamations, in a similar way to that of Mrs Bennet, suggests a lack of education and level of ‘air headedness’. Lydia is outspoken and completely self-absorbed, even though she is the youngest of the sisters, which foreshadows the trouble she will get into later on in the story.
In the Episode of the Crabs, it’s clear that Waverly, like her mother, demands the very best. Waverly is, in a sense, Lindo’s selfish side unmitigated by filial duty or obligation. Waverly, like all of the other daughters in The Joy Luck Club, has a strained relationship with her mother. Waverly, as stated earlier, is independent and likes to assert her independence to her mom. She makes a show of not taking her mother’s advice by saying things like, "Don’t be so old-fashioned, Ma […].
She is always insisting that Tesman and Hedda should have a baby. Aunt Tesman tries to get along with Hedda, but their difference in social classes makes it hard for them to really connect. She lives and takes care of aunt Rina, and overall is a well-meaning, kind character. 4. Hedda is a physically appealing young women (“face and figure show refinement and distinction, her complexion is pale and opaque, her steel-grey eyes express a cold, unruffled repose, her hair is of an agreeable brown, but
Geoffrey Chaucer has created extraordinary characters through many of his writings. In particular, the Wife of Bath, in The Canterbury Tales, seems to grab the attention of many readers as she presents her ideas on love and life. Using the prologue and tale to explain her personality, she shows no feeling of regret when it comes to the many marriages that she has had, and she clearly is living life to the fullest, and enjoying the gossip being spoken about her life. She was very demanding, controlling, and very sexually dominant in her past relationships. However, even though the husbands were bothered by this, she took extreme enjoyment that she had such power.
She describes herself as a “big-boned woman with hands that are rough from years of physical labor.” And although she is poor and uneducated, she manages to be both a mother and a father for both her children, proving the fact that she is a strong independent woman who cares not about a superficial ideology of a family but for her own children and their happiness. However, she is quite frank as she distinguishes between her two daughters, showing a dramatic opposition in the characteristics of the two. She has no fear in criticizing her own daughters. Maggie is described quite harshly as a shy, inferior girl with limitations. Also, she criticizes Dee for rejecting her own origins, and resents the sophistication, education and air of superiority that Dee has acquired throughout the years.
I trust the narrator of this story because she is not holding anything back about herself or her appearance. She doesn’t seem to glamourizing anything just telling things exactly the way they are in real life. She explains all of the good and the bad about herself, Maggie, and her daughter Dee (Wangero). 3. What assumptions does the narrator have about her daughters?
Now guaranteed a home in Athens, Medea has cleared all obstacles to completing her revenge, a plan which grows to include the murder of her own children; the pain their loss will cause her does not outweigh the satisfaction she will feel in making Jason suffer. Medea then pretends to sympathize with Jason and offers his wife the gifts of a crown and robe. Allegedly, the gifts are meant to convince Glauce to ask her father to allow the children to stay in Corinth. The crown and robe are actually poisoned, however, and their delivery causes Glauce's death. Seeing his daughter withered
Both plays show fearless women who intervene with political matters and cause tension within the kingdom. Lady Macbeth questions her husband and pressures him into being more aggressive, while Antigone defies Creon by burying her dead brother, Polynieces. Both Lady Macbeth and Antigone defy the social and political expectations of their society by adopting the expected behaviors of the opposite gender. Lady Macbeth disregards the social and political norms by wanting to become more masculine and aggressive. While she prepares to exterminate the current king, she cries out “Unsex me here,/ and fill me from the crown to the toe top-full/ Of direst cruelty.” (Shakespeare.