Old Hamlet’s ghost appears for the second time to remind Hamlet of his mission of revenge for his father’s murder. Hamlet suggests to his mother he is not actually mad at all, he is just pretending to be. Shakespheare shows us many conflicts with characters throughout this scene and also the consequences which the scene puts out, including Ophelia’s madness due to her fathers death. The ‘closet scene’, as it is commonly referred to, is significant in a number of ways. On one level it helps develop the reader’s understanding of some of the play’s key themes.
Christina describes her mother’s primary concerns centralized around how she wished to be perceived by others and the public image she wished to project 74-75). Her false displays of intimacy, excessive vanity, egocentricity, lack of empathy, and attention seeking behavior are evident in her interpersonal relationships and emotional neglect of her children. Her career as a film star exacerbated these negative personality traits (27, 83). Any affection she showed toward Christina usually took the form of a shallow nod of approval or pat on the head for performing tasks such as mixing alcoholic beverages for Joan and her guests or when in the presence of others, but in private her treatment of Christina was very cold and her parenting style was excessively rigid, strict, and authoritarian. She relied primarily on punishment (particularly corporal) and negative reinforcement to gain compliance and desired behavior.
In the play, Hortensio describes Kat to Petruchio in order to explain how rude she is after telling him how much money her family has, “Her name is Katherina Minola, Renowned in Padua for her scolding tongue”(55). Hortensio introduces the idea of Kat to Petruchio and what kind of person she is and yet he still does not explain what her reason is for being that way. Neither does anybody, including Kat herself, give her a reason for her shrew attitude. In contrast, your film portrays her as a slightly different character. Rather than just being rude, she obviously has her opinions about certain things and sticks to them.
He does this by things such as calling her nicknames with negative characteristics, such as his little lark, spendthrift and featherhead. Both Nora and Torvald, put on a face for the rest of the world and each other. Surprisingly, these choices of façade complimented each other. We gradually see how it isn’t good enough for her, yet hides it anyways through most of the play. In this era, it is expected for a woman to go straight from her father’s hand to her husband’s and the sacrifices it meant.
The Friar tries to dissuade Giovanni from commencing the relationship despite there being little effect from his words. Annabella is harshly reprimanded by the Friar, so much so that she sees sense to confess to her sins. Despite her confession however, she is still punished grotesquely towards the end of the play. Giovanni does not confess; instead he sees his actions as necessary to deal with the problem that he is the main cause of. The final line “Who could not say, ‘Tis pity she’s a whore?” can be seen as directed towards her and so she is blamed for everything that has occurred.
Therefore she changes dramatically, as she is tired of being treated condescendingly by both her husband, Torvald and her ‘friend’ Christine Linde. This becomes painfully clear to her: “I’ve been your doll-wife, just as I used to be papa’s doll-child.” However, she does know that her ‘childish’ behavior may be in her advantage, as Torvald is used to her acting this way and likes to guide her. “Correct me, lead me, the way you always do, I can’t get anywhere without your help.” This makes Nora a symbol of society at that time: woman deliberately play a role because they otherwise would not be understood or accepted by their environment. Despite Nora’s infantile actions at the opening scenes of this play, Ibsen does show some more mature female characters, even in the male-dominated society they live in. Christine Linde for instance.
Using a female character makes it more powerful to challenge the authorities and the norms. The wife likens to the priests who use the literature badly and wrongly to vindicate their acts. The wife’s misusing of literature shows that she is unschooled. The wife shows us herself to be in opposition with the patriarchal society she lives in. When she talks against society’s norms, she talks in a dialogical
By the end, they had each faced individual hardships and morphed into completely different people. Due to Estella being raised by Miss Havisham to torment the hearts of men, she was deliberately cruel to Pip. Estella belittled him, making Pip feel like a disgraceful “common labouring boy” not worthy of her presence. Pip commented on his first meeting of Estella, saying “she was as scornful of me as if she had been one-and-twenty, and a queen,” expressing that she was quite vicious and pitiless towards him. This practice resulted in Pip’s deepest love towards her.
Both conflicts are important as they can either act as an insight into a character’s mind, serve as a moral to the story, or even as a way to show relationships between characters. In “Chronicle” there is a love conflict where the ‘labeling’ as to who is ‘evil’ and who is ‘good’ is greatly affected by both the reader’s perception and the character’s perception. This conflict is between Bayardo and Angela – he rejected her when he discovered that she was not actually a virgin. This conflict was revealed when Bayardo brought Angela back to her house, where she was then beaten by her mother. In this case, even when some readers might agree with the character’s perceptions, their reactions are thought of as too exaggerated and unnecessary.
Wouldn’t that be much more jolly?” (Rama Rau 114). The head mistress’s condescending tone creates tension because it makes the reader feel uncomfortable for the characters. Rama Rau puts this experience in the beginning of the story to set up the tension the reader will feel through out the story. Premila’s mom expresses, “You’re to small to have them. You won’t have them in donkey’s years” (Rama Rau 116).