Secondly, Sheila is displayed as a dependent women “but these girls aren’t cheap labour” this reveals that she already is showing change and develop. In addition Priestley changes her character by making he more mature to send a message saying younger generation are capable of changing and there is hope for their society: I know I’m to blame – and I’m desperately sorry' on closer inspection this suggest that she has learnt her lesson and is horrified by her own part in Eva’s story also taking full responsibility for her actions shows confidence, courage and bravery she feels full of guilt for her jealous actions and blames herself as “really responsible”. Sheila Birling is very perceptive: she realises that Gerald knew Daisy Renton/Eva Smith from his response, the moment inspector Goole mentioned her name. At the end of act two she is the first wonder who the inspector really is, saying to him,
Very silly choice if you ask me’. She is very different to other parents because normal parents will complement their child even though they were horrible but Gwen instantly lists all the negatives factors of the play and say Meg was terrible. Gwen’s continuous nagging creates a barrier between her and Meg which Gwen is not able to get out of her domestic world. Furthermore, when Gwen was complaining to Jim that she did not have her keys, Jim tries to convince Gwen that he does not have the key but she tips all the contents of her handbag on the floor which shows she is in a very irrational nature. Gwen has a tendency to repeat a lot of words in order to get a message across which also can show anxiety, especially when she says ‘No.
During act 1 the audience recognise one of Sheila’s characteristics by her use of careless language. ‘You must drink to our health’ this reinforces the fact that Sheila’s engagement has engulfed her mind leaving her to think carelessly about anything else. The phrase ‘our health’ quoted by Sheila foreshadows the death of Eva Smith which later she will know about leaving her engagement mood shattered As the play progresses, Sheila’s character develops from being unsympathetic to sympathetic. ‘And I know I’m to blame- and I’m desperately sorry’ this clearly states that she has developed maturity as she shows her sympathetic feeling along with holding responsibility by taking blame for what she had done. ‘Desperately sorry’ this emphasises the point stated that Priestly develops Sheila’s character as the play progresses.
During her trail scene, she is accused of being a whore and it is at this point in the play that she gains a voice. In this scene Vittoria exploits the constraints held over women by men. She refused to listen those talking in Latin, “I will not have any accusations clouded/ in a strange tongue” and begins to personate masculine virtue. As Vittoria speaks she is damned because she breaks her silence, her bad reputation is her ‘public fault’. A women who publicly speaks ultimately becomes a public women and is guilty of public sexuality: she is publicly accused of being a whore in this scene.
Eve instigated her strategy by studying the very popular actress on stage at the time named Margo Channing. Margo is alienated by Eve’s manipulation. Alienation is sense of estrangement from God and reason”. This is powerful enough to “produce a condition of anxious withdrawal. By getting to know Margo's friend Karen, Eve makes her way into Margo's life and world with further manipulation which causes Margo to further withdraw from her friends and eventually herself.
In Alldredge’s criticism of Faulkner’s novel As I Lay Dying one of the prominent things she discusses and give a valid, and strong point on is Addie Bundren’s favoritism to her illegitimate son Jewel and how it made Darl become bitter and eventually undoes him. When Alldredge states that Addie’s “relationships, or lack of them, with [her]… family is essential to any understanding of the inner conflicts in her children” (Alldredge) this is especially true with Darl. She hardly paid attention to her other children besides Jewel and it really struck home with Darl. Darl is so bitter by his mother and Jewel’s relationship that he keeps him from her death bed and his excuse is that “[He] wants [Jewel] to help [him] load” (Faulkner 7.6-10) knowing full well that his mother would want Jewel there more than anything. Does Darl care?
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.
Henrick Ibsen’s “A Doll’s House” is a play that takes it’s readers on a ride, showing them that a marriage, though on the outside looks healthy, really can have many flaws and can be full of deceit. It also shows how money really is, or can be the basis of many relationships, which is still true today. Throughout this play, it seems as if one can’t really choose which character is the antagonist and which deserves to be the protagonist, although each character shows qualities of both. It can be argued that Nora is the antagonist because she is constantly lying to her husband, Torvald, and doing things he tells her not to behind her back. Also, it becomes clear that most of the things she does, for instance, anytime Nora shows affection it is only to receive some kind of payment.
At the end of the play, he tells Nora “You talk like a child. You don't understand the conditions of the world in which you live” which not only insults Nora by saying she is acting childish but is also incompetent of understanding her own basic freedoms as a woman during that time period (Act III lines 1038-39). Torvald’s character, no matter how much he loves her, display views against the idea of feminism because he is not willing to allow her to take care of him financially which was the entire conflict of the play. An issue regarding a loan Nora withdrawls sets the plot of the play. Although her motives were
For these reasons Ophelia is sympathetic to Hamlet, even as he lashes out at her, "O, help him, you sweet heavens” (1351)! Hamlet is projecting his anger at his mother, Gertrude, on to Ophelia. Because of his intense love for her, Hamlet believes that she will almost certainly betray him just as his mother betrayed his father. Hamlet's love for his mother makes her deceit that much more painful to him. Ophelia symbolizes what Hamlet once believed his mother to be.