What happens at the climax of the play? The climax of the play was reached a little towards the end of the play, where Cal verbally attacks Andre’s mother. Cal states, “I’m even more bitter now, after all this, I can’t reach you. I’m beginning to feel your disapproval and its making me ill” (51). After all the low blows Cal delivered to
The stories utilize verbal irony to convey the sense of something more than the statement at face value, dramatic irony to feel the true ignorant and untrusting natures of the characters, and lastly situational irony as a medium for the former to glide through and provide the kick to the plot of the story. Sarcasm and other verbal elements would be used in “The Lottery” and many more within the brilliant writing of The Crucible. It can be seen more commonly with the interactions between John Proctor and his wife, Elizabeth Proctor, where it is noted earlier in the book that he has cheated on her with Abigail Williams and now they face an uneasy relationship because of it. The book portrays an excellent scene of irony when John must recite his commandments: Proctor: “... Thou shalt not bear false witness. [He is stuck.
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.
Furthermore, orphans were also often treated with disdain and distrust, due to their reputation as “criminally prone” individuals, and were frequent targets of classic “Victorian contradictions”, that characterized the social conventions of Victorian society. Bessie repeatedly refers to Jane as ‘poor orphan child’ in her hymn early on at Gateshead. The development of Jane’s character is central to the novel. She learns to control her passions, as her integrity is put to the test when she faces so much injustice: ‘why was I always suffering, always browbeaten, always accused, forever condemned?’. The bildungs roman of the protagonist, contrasts the attitudes of the mature Jane to her younger self initially shouting: ‘unjust, unjust’, nonetheless coming of age made her reactions and opinions more subtle, ‘what consternation of a soul was mine that dreary afternoon’.
As a child Hindley treats Heathcliff poorly and always liked to hurt him by hitting him and insulting him, but he always found enjoyment in relaxing with Catherine, Hindley’s Sister. Every since Heathcliff is first brought to the Earnshaws house Hindley has been treating him very badly but Catherine accepted him into the family. Nelly says about Hindley that, “The young master had learned to regard his father as an oppressor rather than a friend, and Heathcliff as a usurper of his parent’s affections and his privileges; and he grew bitter with brooding over these injuries” (31). Hindley did not like Mr. Earnshaw because he always told him not to bother Heathcliff. Hindley always treated Heathcliff very badly for a long time, and Heathcliff began to despise Hindley more and more.
Ever since Mr.Earnshaw had brought him into household at Wuthering Heights, Heathcliff’s natural personality has been distorted by the treatment by others, which is reflected in his dark actions later on in his life. He had been subjected to racism and accepted suffering from Hindley, Cathy’s brother, especially following the death of Mr. Earnshaw. During this time, however, after Hindley degrades Heathcliff to a servant, Catherine continues to spend time with Heathcliff and they even ‘promise to grow up as rude as savages’. The two rub off each other and whole-heartedly disregard the conventional social
Due to his background teachers regarded him as a hopeless cause because his difficulty in using Received Pronunciation which contrasts against Harrison's attitude towards language and that there is a variety of dialect within the English language which everyone uses to convey a conversation with one another. When Harrison was young he was overawed by his "posh" teacher who embarrassed him resulting in him feeling demeaned and docile. The first section is in the form of a memory emphasised through the embedded dialogue of the teacher showing how he is undermined as the teacher wants to make sure their "glorious heritage" is not "done to death" suggesting that teacher is aiming to undermine Harrison by discouraging him from reading the important roles. Similarly, in "Bringing Up", he emphasises his separation from his mother as she disgusted over him using taboo language. The use of embedded dialogue implies the different view on the Leeds accent emphasised in his mother being disgusted with him and believes he was not "brought up to write such mucky books!"
Louisa and Tom, products of Gradgrind’s fact-filled reasoning, represent the lost cases of this teaching method while Stephan and Rachael symbolise the victims of these new ideas. Coketown is also described in a way that repels the readers from it, while the Dickensian style helps to mock certain aspects of modernity that the characters symbolise. Dickens’ representation of the average upper class utilitarian is conveyed through the caricature of Mr Gradgrind. Mr Gradgrind’s personality fuels the intimate main plot of Hard Times, being a perfect model of a utilitarian. He oppresses his children and school students into learning “fact, fact, fact”, trapping them from any chance of releasing emotion and fancy.
One of the conversations Pip had with Joe was very awkward. During this conversation, Joe forgave Pip for his corruption: “Pip, dear old chap, life is made of ever so many partings welded together, as I may say, and one man’s a blacksmith, and one’s a whitesmith, and one’s a goldsmith, and one’s a coppersmith. Diwisions among such must come, and must be met as they come.” All the people Pip once called his friends, were now only mere embarrassments that were not as good as he was. Another character that shows this example is Estella. Estella is much more arrogant than Pip is.
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. Throughout the play she is seen as quite powerful and headstrong by refusing many marriage proposals and being quite stubborn in doing so. However, she is reduced to a weak being however upon dying which is a culmination of her passions. It is perceived that women are a danger to men and to society as a whole and so Giovanni’s actions are to be blamed not on himself, but on Annabella because of the beauty she possesses. Giovanni states that Annabella’s “lips would tempt a saint” thus showing the corruption her presence inflicts upon even the supposed innocent of men.