In both poems gender conflict is demonstrated between through the emotion of betrayal in a relationship. For example in Les Grands Seignurs she talks about “little woman” which could show the great depth of thought about how she feels towards men. The word “a toy, a plaything” suggests that’s once she got married she has became powerless and feels like she is a toy, this shows her betrayal as when you get married you expect the marriage to be fantastic and not to feel like a toy. In contrast, Medusa also demonstrates this when she says “wasn’t I beautiful?” this Is effective as I can infer that she feels insecure about her looks. It also suggests that she misses her past through the use of a rhetorical question which makes the reader feel sympathy for her.
He is ultimately laughed at by Elizabeth who could not take his words seriously, for they contradicted his actions. His use of language in his “confession of love” produced a great amount of dramatic irony. At the beginning of the passage, we learned that Collins attempted to court a lady he has only known for three days with deliberate intentions. He began his proposal by exaggerating his gratitude that he has the honor of courting her with her mother’s permission. He flattered her by praising her appearance, manner, and personality while he fibs.
Some of these depictions can be found in Ruth, Oliver Twist, East Lynne, and Tess of the d'Urbervilles. In the Victorian novel, women were stereotyped to ensure the dominance of the patriarchy. Presented as a role model and ideal for the family fireside readers, the sweet and beautiful angel is the arbiter of domesticity in the face of an uncaring world. In return for her loving devotion, she is rewarded by a marriage that provides her security and identity. In contrast, those women who are too willful or intelligent
Bradstreet also shows her insecurity when she says, “Nor can I, like that fluent sweet tongued Greek” (129). Lee Oser believes that she lingered over the Greek’s traditions on natural beauty (194). Although Bradstreet has great dreams, she knows her limits as a woman and is left only to dream. Bradstreet soon becomes depressed and grows angry at her state in society, because of envy and her continuous dreaming. John Winthrop says, “God Almighty hath so disposed of the condition of mankind” (107).
exclamation marks, this displays his emotional state and anger, giving you an accurate idea of the character. Browning has used a linear structure for the poem with flashbacks to different parts of about Fra Lippo Lippi’s life. This works as a metaphor for how the church works because even though time is moving on and forward they keep looking back into the past and using old traditional practices and views; exactly what about Fra Lippo is angered about. Sexual Imagery is used by Browning in line 196 'Oh, that white smallish female with the breasts' demonstrates how Fra Lippo thinks differently to the other monks. This kind of sexual fantasy is frowned upon by monks and the church, this circumstance helps to distinguish Fra Lippo from other members of the church.
Lear, assaulted womanhood and his attitude towards women was revealed in the depth of the curse and what omens he wished upon Goneril. This may be Shakespeare using Lear as a tool to express his own dislike towards women or conversely, show how devastating it is for a parent to have an ungrateful child that turns her sadness into joy. Furthermore, through statement from “Never afflict/That scope” spoken by Goneril may be an indirect reference to the elderly and how they may rave on about senile matters that are of no concern to the younger generation as this is what Goneril thinks of Lear when he is this angry ranting on about cursing Goneril. The bulk of this text is very emotional as it focuses on Lear degenerating Goneril as a female. The mood is very dark and gloomy.
He does this by things such as calling her nicknames with negative characteristics, such as his little lark, spendthrift and featherhead. Both Nora and Torvald, put on a face for the rest of the world and each other. Surprisingly, these choices of façade complimented each other. We gradually see how it isn’t good enough for her, yet hides it anyways through most of the play. In this era, it is expected for a woman to go straight from her father’s hand to her husband’s and the sacrifices it meant.
The very first descriptions illustrate her initial animus by describing it as “one of those sprawling flamboyant patterns committing every artistic sin” (Perkins 41-42). This is significant for it reflects the narrator’s own presence—she is committing an artistic sin during her marriage by having her engaging imagination and her need to compose. Her husband, John, dislikes this, and as a result, the narrator deliberately feels stifled and has to obscure her writing so that her husband will not know. The narrator is characterized as having a nervous state and is overly protected by her
Especially when she reminisces in the final stanza about the time she was young and beautiful, illustrating her complete lack of confidence. Nevertheless, she is still presented as a foul character who threatens the reader, with the line ‘Be terrified’. The poem also ends with the line ‘Look at me now’ which has a double entendre (double meaning). It could be read as a cry of despair or, as a threat – if you did look at Medusa you would die! This leaves the reader feeling conflicting emotions for the character, probably similar to how Medusa herself feels in the poem.
In Act IV, Desdemona portrays both loyal characteristics and qualities of innocence. In Act I she tells her father “You are the lord of duty, I am hitherto your daughter. But here’s my husband…” (1.3.184-185). As Othello’s perspective and motive changes throughout the play, Desdemona’s characteristics alter minimally. Desdemona’s innocent, loyal, and honorable traits contribute to the theme that things are not always as they seem due to Othello’s failure to recognize them in his moments of jealous accusation.