Overwhelmed by vulnerability, “[Ethan] saw her [Zeena] preparing to go away”. In contemplation of this abandonment, he almost instinctively “was seized with an unreasoning dread of being left alone” (Wharton 70). This fear of lonesomeness filters into every aspect of Ethan's life, altering each area drastically. Furthermore, Ethan, despite his apparent hatred for his wife, relies on her companionship to function. On the oppose side of the marital spectrum, Zeena regularly professes her hypochondria to her husband.
In the story, Ross specifically tells their son, Kevin that he should try not to marry beneath himself because he will end up stuck in the same situation as him. This demonstrates Jean’s life being difficult because, she constantly has to deal with her husband not caring about her and looking to other women to satisfy himself. To continue, Jean lacks proper
"(PROLOGUE 16-28)" In those lines Antigone shows that her “love” for her brother will leave her “hating” her sister. Ismene is fearful of burying Polyneices, “But think of the danger! Think of what Creon will do!” (PROLOGUE 34). Her devotion to her family is not as strong as Antigones. By accepting the obligation to bury Polyneices, Antigone acts as if she has no choice.
Goneril and Regan pledge their love for their father, while Cordelia refuses to speak and when probed finally states that she cannot “heave her heart into her mouth,” (Act I p.7 96-97) that she loves him exactly as much as a daughter should love her father, and that her sisters wouldn’t have husbands if they loved their father as much as they claim. An enraged Lear disowns Cordelia and splits her share of the kingdom between the remaining two sisters. This is a prime example of the beginning of destruction across familial, personal and social aspects. Lear pits his daughters against one another in a selfish endeavour to boost his own pride, but in doing this he also destroys a very crucial aspect within the monarchy by removing the one daughter who has not saught out to destroy him and the foundation he had built for his kingdom. In disowning Cordelia this breaks the natural order of things because in doing so he has severed the natural bond that a father and daughter share, as well he has personally destructed himself with this decision because he has given up on his favoured daughter.
I believe that she does feel bad that her children, who once really loved their father, have become bitter towards him now. She feels that she knows he painful it is to hate someone you still love, and wishes that even though, Jody D. was bad for her, that he could at least be good for them. She tends to compare her father and her ex-husband frequently. In addition to them being close, she feels that they both are “no-good daddies”. Another observation was when a fellow co-worker asked another, about T. Smith and stated that she would like to get to know her better.
There were times where Bone recalls “afterward, Mama would cry and wash my face and tell me not to be so stubborn, not to make him so mad” (Allison 110) which places the blame completely on Bone. I think the biggest factor into engagement was Anney’s refusal to leave Glen even after she knew, Bone’s lack of identity, the pre-existing idea that the family was trash, and her constant desire to please her mother even telling her mother “I could never hate you” after she witnesses the abuse. As Bone gets older she finds even more reason to blame herself for the abuse. She even blames her looks saying that her ugliness explains why Daddy Glen is
Where did the genuine love of real people seem to disappear to? Montag dislikes this personified machinery that takes over his household and questions Mildred, “Does your ‘family’ love you, love you very much, love you with all their heart and soul, Millie?”(pg.77) Mildred does not, answer for deep inside, she knows that the life that she occupies, is unnatural. Montag remains confused and heartbroken thanks to the cold-blooded talking walls. In the book, people look for love in things that are not able to give love in return and if not that, there is no love being looked for at
‘Women must creep’ (Elaine R. Hedges) illustrates the thought that women shouldn’t be heard, but do only what they’re required to do, reinforcing how women were demeaned. The lack of power women had was not only present within their marriage, but also in society as males were perceived as the more significant gender, so women were patronised and dismissed by patriarchal control. Patriarchal control is represented clearly by John, the protagonist’s husband, which increases complexity within the novel as the isolation and ‘The resting cure’ he enforces upon her, causes her mental state to degenerate further, despite John believing it is helping his wife. There are a number of methods used to increase the characters complexity in The Yellow Wallpaper. For example, the use of epistolary displays a 1st person narrative and is in the present tense, “I never used to be so sensitive.” This is present when the protagonist writes to herself, Gilman uses this technique in order to show the
While in the short story she is exposed to be a cold-hearted, and greedy person. Another instance where the short story and movie differ is the role of the father. In the beginning of the written story the author reveals Hester to be a cold-hearted mother. “She had bonny children, yet she felt they had been thrust upon her, and she could not love them”(75). In public she is thought of as the perfect mother, but in private she and her children know her true feelings.
In fact, Baumer faces adversity when he must visit Kemmerich’s mother to inform her of his death. Due to the challenge of telling Kemmerich’s mother the truth, Baumer’s esteem takes a huge hit and continually spirals downwards for the remainder of the story. For example, since Kemmerich has died, Paul must pull himself together and visit his mother to inform her on the tragic news of her son’s death. It is extremely uneasy for Paul to perform this task as he believes it is not fair for Kemmerich to die while he lives. Paul ponders, “[f]our days left now.