The word “tart” which shows the impression and effect Curley’s wife has on other workers on the ranch. The word “tart” is very blunt and straight forward which is the effect Steinbeck wanted to use because he wants to show the reader the immediate impression workers have about Curley’s wife. This further supports my point that Steinbeck presents Curley’s wife in a negative manner. The effect of this is that the reader has made an unfair judgement about Curley’s wife without her even speaking. This means that the reader sees her as a danger to Lennie but also makes the reader think that she is unfaithful and has married Curley for the wrong reasons such as money and power which is what all ambitious women
In Jacobean times women were seen as inferior and even in the Victoria era, thus she required external forces to crush her conscience to allow her to fulfil her ambition. Yet she is afraid her feminine qualities will prevent her from achieving the murder of King Duncan. Which would gradually lead to her mental breakdown. Regicide was considered a mortal sin in Jacobean times, one God couldn't forgive. Whereas Browning’s protagonist in The Laboratory sustains her feminine qualities this is reflected in the line “The colours too grim” in which she is referring to her dislike of the colour of poison and that it needs to be 'brightened' up in order to convince her victim to drink it.
One archetype of personification used is Martyn’s encounter with his Aunty Jean after his dad’s bereavement. Brooks uses the quote; “I could tell it was Aunty Jean by the tone of the bell. It sounded terrified.” The personification used suggests to the reader that even inanimate objects are discouraged by her, or fearful of her, by the use of the word ‘terrified’, this also reflects the similar emotions and physical feelings between Martyn and his aunt, which we can tell by the way Brooks creates this concept of Martyn resenting being part of the Pig family in earlier stages of the novel, are not of a good disposition. Another example of imagery in the novel is the metaphor used on page 50, upon which Martyn thinks back to a quote he remembers from the late Albert Einstein, which conjures up this idea of ‘the invisible piper’ and how we cannot control the unravelling of a chain of events. Martyn then goes on to say; “The invisible piper on this occasion was the postman.” I think in this case, we see a hint of Martyn’s relationship with himself, as regularly through the novel, he tends to
She is disrespectful towards Calpurnia her maid. Scout suggests to Atticus to have her fired. “‘She likes Jem better’n she likes me, anyway,’ I concluded, and suggested that Atticus lose no time in packing her off” (Lee, 25). When Scout says this after Calpurnia punished her, it shows how inconsiderate and rude she was. The reason Calpurnia punished Scout in the first place was because she had berated Walter Cunningham for having different tastes than her.
The condescending tone that Kate uses on these wives is a basically a scolding for their disobedience and also a lesson on why wives should submit to their husbands so humbly. Also in the
Leola caused Dunstan to experience jealousy and pity. Diana is also controlling and manipulative, like Dunstan’s mother, which is why he leaves her. Through Diana, the reader sees how much Dunstan’s mother has affected his life with women. Liesl made Dunstan realize that he felt no emotion, and she caused him to feel it again. She brought him out of the isolation his mother put him in.
Blanche blames her sister for leaving her alone to take care of things herself in Belle Reeve which is emphasized by the short sentences used when she says ‘I let the place go! Where were you! In bed with your –Polack!’. The repeated exclamations also further reiterate her feelings of betrayal and loneliness caused by Stella’s absence in her life when she left their home. ‘Polak’ refers to Stanley and his mention here foreshadows the conflict soon to follow between Blanche and him.
A Doll’s House In Henrick Ibsen’s A Doll’s House, the main relationship we see is Nora Helmer and her husband Torvald Helmer’s. Their relationship is seemingly influenced by their era. When first reading the play, one may suggest that the women in this play are victims of this era. As the plot develops, we see that the relationship is also influenced by Nora’s lies, which suggest she was also a victimizer in her relationship, aside from her era. By the end of this play, we see how Nora’s secret changes the relationship between the couple, as she violates the stereotypical role-play as a wife and mother in her era, which generates her inspirational growth.
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.
Kattrin is portrayed as a character that is different from the others, as she is the only character of pure intentions, but all the more, she is disadvantaged and still suffers a similar fate as her siblings, as revealed in proceeding scenes. The “Song of the Great Solus of this Earth” also reveals Brecht’s mockery of the practice of virtues during war, revealing virtues’ fatality to their possessors. In scene 9, the Cook tells Mother Courage that he has a small inn back in Utrecht, where she can join him. However, he also states “if [mother courage] is bringing [Kattrin], it’s all off”, because the “customers don’t like having something like that always before their eyes” (97). Unfortunately, Kattrin hears them, as “[she] has her head out of the back of the wagon” (97), and decides to save her mother the trouble of deciding, and “clambers out of the wagon with a bundle.