As previously mentioned she uses the words ill formed and feeble to describe her unfinished writing’s fragility. In line 10, she continues by saying, “thy visage was so irksome in my sight,” to explain the shame and discomfort that she carries with her due to the fact that her “baby” was exposed to the public still so unpolished. She applies the words blemishes, flaw, and hobbling into her diction in order to express her piece as something that is not well put together, and no matter how much she attempts to polish it, she feels as if she has failed at improving it. Lastly, Bradstreet’s characterization of her work comes to life through the evident controlling metaphor of the poem, which is claiming that her writing is her “offspring”. Throughout the entire poem, the controlling metaphor becomes this idea that her writing is her child,
Ophelia as a character is extremely intriguing in her ambiguity. For an audience she presents a conundrum of whether or not we should empathise with, or despise her. As Helena Faucit Martin says that Ophelia is “greatly misunderstood”, this could be seen as true, due to her feelings and emotions have been cut-off from the world and that she cannot show any emotions, as she is stuck in a patriarchal world, which would makes some of the audience empathise with her. As Anna Brownell Murphy Jameson describes her as a “a strain of sad, sweet music, which comes floating by us on the wings of silence and night”, she can be seen as this because she sways the audience with her emotions and suicide, but at times this could be seen as quite wrong, as we the audience dislike her passivity, because she portrays women as too weak and passive. Her character presents an interesting challenge for an actor to play this character.
And if that’s sinful, then let me be damned for it!”(Scene Nine).She seems enraged that her reality is unraveled, that everyone now sees her fantasy for what it is, fantasy. Her lies about her purity, her age, her background, everything is now out in the open to be judged and scrutinized by the public. Blanche DuBois is a tragic figure. She is out of place both geographically and temporally (Scene One). She appears to be trying to remain a ‘young women’ when in fact she is getting old, this results in an unappealing persona.
• The tragic hero should be great, but cannot be perfect. The reader/audience should see themselves in the tragic hero/ine. o Blanche is not a “great” or a “perfect” person. She is far from being a girl scout- at least the version of Blanche we know from the play who is sexually promiscuous, manipulative, and snobbish- not knowing much about Blanch before her arrival to New Orleans, other than the fact that she was a very delicate person. o She does have plenty of flaws as noted above, most of which stem from her insecurity as a person.
The weight she feels not only results in her mental and social isolation, but also her growing mental instability. Esther is profoundly troubled by the hypocritical, “cookie-cutter” views she is surrounded by and feels overwhelmed and powerless. She feels as though she is trapped in her own inner world of alienation, a personal “bell jar” if you will. Instead of holding tight to her original identity however, becoming like everyone around her is the only way she can end her breakdown. Another factor that contributes to her accruing discomfort is her unclear plan for her future.
It could also be viewed as the plastic meaning suffocation and overpowering material goods that are not needed but somehow are the most important subjects to these women. These respectable women however in Duffy view are artificial and fake. They only talk about trivial subjects because, language embarrassed them. This could mean a literal language such as swearing or a subject which is rude or not talked of in high society. Or meanings that they are uneducated or cannot express themselves well and therefore find it hard to communicate with each other.
From this, the reader can gain a sense of her ignorance. Her primary concern was her appearance and personal state which made her the most out of place of all her sisters. Other hints at her materialistic flaws were when her "precious toiletries" were replaced by more practical things. This disgusted her as she didn't know how she could live without these possessions. This behavior was normal in white America, however when she was placed in an obscure
She is not only bow legged, but also a mute—the main reason behind her mistreatment. Although these handicaps are not significant concerns today, during the time frame of “Recitatif” these are seen as defects that do not mesh well with society. As Roberta tells Twyla, “And because she could [not] talk—well you know, I thought she was crazy” (214). The protagonist of Atwood’s “Lusus Naturae”, unsurprisingly, is the individual that is signaled out as the scapegoat. She has a genetic disorder that warps her outer features; yellow eyes, pink teeth, red finger nails, and dark hair that protrudes from her chest and arms (233).