In the short story, “Bluebeard” by Charles Perrault, curiosity gets Bluebeard’s wife in a great deal of trouble. Bluebeard gives his wife all of the keys to the house that would allow her access to all rooms but he has one stipulation and that is that she is not to enter the forbidden closet. Eventually Bluebeard’s wife gives in to her own curiosity and opens the room to find a room full of dead women. This short story is an example of curiosity used foolishly. First of all, Bluebeard’s wife is forewarned that if she disobeys his order he will be full of anger and resentment.
When Alcee approaches Calixta asking for shelter, Calixta was deeply focused in her household chores. The writer describes Calixta's suppressed emotions and passions for Alcee which were now aroused after the encounter between both of them. Constrained by the boundaries set by her marital status, Calixta had not seen Alcee very often after her marriage and never alone. She allows him inside and talks excitedly about the stuff going on at her place and also talks about her preparation for the storm helping to demonstrate the arousing sexual tension that she is feeling while Alcee is around. The subject of adultery was first introduced soon after Alcee asked Calixta if he may take refuge from the approaching storm within her house.
The first impression about Elizabeth we have is that of a cold woman. As is put by Abigail Williams, a teenage girl who Elizabeth’s husband John Procter had an affair with, “she is a cold, sniveling woman, and you bend to her!” This impression is soon proven by John Procter himself when he gets home from Parris’ house. “Learn charity, woman,” he says to his wife. He is annoyed with the open display of unhappiness from Elizabeth who suspects that her husband has resumed the relationship with Abigail Williams. The couple’s conflict is first shown in the stifling atmosphere at home when they are talking after John comes back from Parris’ house.
CHARACTERS IN ODOUR OF CHRYSANTHEMUMS: ELIZABETH BATES; Though Elizabeth initially emerges as a long-suffering wife who deserves sympathy, her response to Walter’s death reveals that she is not as blameless for her unhappiness as she first appears. At first, Walter seems to be the clear cause of Elizabeth’s difficult life. He regularly comes home drunk after working in the mine, making the local pub more of a home than his actual home. Elizabeth is accustomed to the dull, dreary routine of waiting for him, but she still feels anger and annoyance when dinner must be delayed. Every comment she makes is said “bitterly,” and she herself is described as “bitter.” At times she seems so harsh that we may wonder whether she is capable of any other form of emotion.
The presence of guilt has clearly and undeniably manifested itself into the nature of family relationships within both plays. In A Doll's House, Nora's guilt in regards to the crime she committed has accumulated so much so that she is almost 'afraid' of displeasing Torvald over even the smallest of issues. Ibsen has made this evident with the continual reinforcement of the theme of secrecy, which indicates the extent of things Nora keeps hidden from her husband in order to be free of his criticisms. One notable example is the motif of macaroons, in which Nora eats them on various instances but 'stuffs' them away as soon as Torvald arrives. Ibsen further hints towards secrecy within the household when Nora plays hide and seek with her children just before Krogstad, the truthbearer of the play, pays a visit.
The contrasts of the two characters Macbeth and Banquo start in the meeting of the two weird sisters. At first we see the two characters shocked by the prophecies, this being shown through short sentences, “Your children shall be kings.” “You shall be king.” However later on in the scene, we see that Banquo is already sceptical of the witches and hesitant of the prophecy he has been given, he says “What, can the devil speak true?” This shows that he is a very perceptive character and further on he always looks out for Macbeth and warns him about the witches, he is realistic and says “And oftentimes, to win us to our harm, The instruments of
More on through the play we are given the impression, from the Maid's statement, that Bernarda's husband, that past away, was a sleezy man, 'Rot you! You won't be lifting up my skirts again behind your stable door!' But then suddenly when Bernarda comes in she is frightened so starts wailing, as though she is mourning for him. Showing us concept that Bernarda is in control, 'I've never let anyone tell me what's what. Sit down,' talking to the girl offensively.
A second example, how Egg shows a respect is when her global history teacher was screaming and yelling at her about being late. When Egg first stepped foot into the door the teacher screams, “Invest in an alarm clock Mrs. Jurgen.” Egg takes her seat and starts to take notes, the page are blurry because she starts to cry. (56) That shows respect because she knew that she was talking to an adult and not a child. There is a certain way that you have to talk to adults. Final example is when Egg shows respect to Max.
When I get to her she curses at me for being late and orders me to lay out her garments while she went to wake her son Martinus Caecilius Domitius. So I entered her room and placed her bright orange tunic, stola and red palla onto the bed and waited for her return. As soon as she entered the room I started dressing her without a word, I did not want to test her anger any further. My mistress is usually kind but she is angered often, it doesn’t matter who she is upset with, she will express her rage on who is closest. That is usually me.
Their neighbors Roman (Sidney Blackmon) and Minnie Castevets (Ruth Gordon) come over to welcome them into the apartment building, but Rosemary and Guy starts to find themselves in an very uncomfortable situations with the nosey couple, and strange things begin to happen. Guy in return for fame and fortune, he offers up his wife in so she can become he mother of the Anti-Christ. The movie takes on a Religious symbolism. Rosemary questions in her religious beliefs: “I was raised a Catholic, but now I don’t know what I believe.” She refuses to accept that her husband could betray her, and the idea that her next door neighbors are witches is absurd and who would believe her? Rosemary has faith that she can deliver the child.