She begins to hide her luscious hair in a cap and almost seems to lose her femininity. She becomes an outcast in the town, living on the outskirts of town. Men, woman, and children constantly making fun of both Pearl and Hester increasing the affect of Hester's diminishing appearance. An example of this abuse can be seen in Pearl repeatable being called a "demon child" by the towns people. (Hawthorne, Scarlet Letter 89) It almost seems as if the scarlet letter has absorbed her beauty along with all the rebellious and fiery qualities of Hester, leaving a cold and lonely woman, her tenderness "crushed so deeply into her heart that it can never show itself more.
She is desperate to feel noticed and special and this shows how lonely she is and isolated. Steinbeck presented Curley's Wife in different ways. First she is seen as 'a tart', a threat, using her power, being racist but then she is presented as also lonely and compassionate to Lennie. In Steinbeck's letter to the actress playing her in the play version, he says 'if you could break down her thousand defences she has built up, you would find a nice person, an honest person, and you would end up loving her.' We see in the end what a nice person she can be and that she wants to be loved like anyone else.’ |
Money ≠ Love The infamous British pop and rock band, The Beatles, once stated, “For I don't care too much for money…For money can't buy me love.” This quote perfectly describes the relationship between Tom and Daisy Buchannan in the American novel, The Great Gatsby by Francis Scott Fitzgerald. Daisy Buchannan, although being in love with Jay Gatsby, married Tom for his fortune. The answer to the question, “Can money buy love?” was simply answered by The Beatles. The lifestyle, the society, and opinions are what made Daisy marry Tom without loving him. The Beatles were right when they claimed money cannot purchase love.
She knows what is happening to her family members as they are taken away, but she only seems to worry about her own life. This allows us to see that the grandmother is uncaring and selfish. Even though she is a victim in this tragic event, she is also somewhat of the person who caused it. After all, she is the one who chose that specific route, but that could just be a sick twist of fate. Throughout the story, we constantly hear of the grandmother’s judgmental views of the misfit.
Many people would argue that the blame for her misfortune should solely lay on Lord Illingworth, who, it is obvious to the audience, used her for his own pleasure and satisfaction, abusing her love and trust. From this, it is easy to infer that Wilde himself felt very strongly about the idea of women ‘falling from grace’, not that they have fallen, but about the double standard that came with it; that it was unjust that women should be fully blamed and looked down on by society for being ‘fallen’ when no blame lay with the men who brought about their fall, an attitude that was very uncommon to have to have at the time, espeicially for a
Joe Romano conveys this in his essay “Sacrifice, Solidarity, and Senselessness” by stating, “The fear that the village girls show when they see Nancy choose her slip of paper and the “general sigh” that the crowd exhibits fear that the village feels as it risks its youngest members” (Romano 849). However, this is where their caring ends, because the control of this group tradition is so strong that had Nancy been chosen the village would not have hesitated to stone her to death. Romano later writes, “This fear, however, does not clearly lead to a crisis of conscience; instead, the villagers release this fear by participating in a violent sacrificial killing that bonds the group in an act of solidarity” (Romano 849). The power of group persuasion is so dangerous because it causes people not to think for themselves.
Why have you brought her here? ", but Antigone has no shame for what she's done, she will not deny a thing. Not only will she not deny the burying, she lays it out with attitude. Antigone having the ability to make Kreon question his Sentry, I'd say is a positive outcome to Antigone's gender. Now, with Kreon hearing the proof of what Antigone has done, he's angered more than ever.
After being caught and having been forced to wear a scarlet “A” representing her act of adultery, Hester tries to continue on with life along with her daughter, while being shunned by the townspeople of Boston, Massachusetts. During this time, Pearl had a big impact on Hester. Pearl was used as a physical representation and reminder of Hester’s sin, while also being a metaphorical mirror to the sins, but ultimately being the source of Hester’s strength. One of the main reasons for Pearl’s use in the novel was for Hester and the readers to remember Hester’s sin when looking at Pearl. In the story, the narrator expressed during the time that Hester and Pearl were walking to Governor Bellingham, that the red and gold colored clothing that Pearl was wearing, which Hester had made, was undoubtedly a significant reminder of Hester’s scarlet letter.
‘Elm’ finished with the disturbing line “That kill, that kill, that kill”We can see through her callous honesty and the unsettling atmosphere that she is tormented when she says “Till your head is a stone, your pillow a little turf”. Here, she is using an image of a grave and this sense of mortality is extremely personal, many poets wouldn't write about such agitated thoughts. Her startling honesty is seen when she says “I am terrified by this dark thing”. Plath is afraid, she is desperate and she is reaching out to her readers, begging for help. Her use of words in ‘Elm’ is also interesting.
Since Yeats objectifies her in this section of the poem, it can be inferred the injury was attained in the past by performing crude acts, necessary for survival on the streets. Forced to sell herself, she is “a thing / heroically lost.” But since the hardships of her past give her an understanding of the world rivalling that of a weathered adult and contribute to her overall self-awareness, she is simultaneously “heroically found.” Repeating the word “wound” three times, Yeats affirms the girl’s flaws as the source of her excellence. She manages to make her shortcomings “her triumph[s].” The play on opposites show the overarching paradox: her spiritual freedom, which feeds her creativity, also seems to drive her toward insanity. The girl’s free spirit truly resonates with Mr. Yeats as she sings “No common intelligible sound[s].” Even though Mr. Yeats admits he cannot understand her lyrics, he goes on to say she sang “O sea-starved, hungry sea.” Since he could not hear her words, Mr. Yeats interjects his emotions at this point of the poem. He is the sea.