Higgins is shown in a god-like aspect where he plays the role of father and creator to Eliza, whereas Eliza is portrayed as an incompetent child who needs to be corrected and reshaped by man. From the initial start of the play we can see the unequal relationship between Higgins and Eliza: Man is superior and women are his subordinates. Higgins is painted as a classy language professor, while Eliza is only portrayed as an uneducated “creature”. Shaw shows this major contrast between the genders to imply the inferiority women hold compared to men. The
Jane Eyre Essay Bronte uses Jane's analytical and honest observations of the upper class to convey their shallow views of each other and their disdain to those beneath them on the social 'ladder'. Jane's status as a governess allows her to watch the upper class, and her judgements of each of Mr Rochester's houseguests are accurate and unexaggerated, and this is the view that Bronte gives the reader. Through Jane's comparisons between Mr Rochester and his guests, Mr Rochester's character is defined by his authenticity, illustrated by the contrasts of language and the difference in behaviour with that of his houseguests. Jane describes Mr Rochester as "not beautiful... but beautiful to me", and she explains that his "genuine power" outweighs all 'grace', 'elegance' and 'military distinction', each of which his guests possess. Mr Rochester's authenticity contrasts sharply with the continuous theme of role playing in the novel.
Reality, the relationship of Pip and Estella also points to a salient theme in the works of Dickens: Class Stratification. The theme of social class is central to Great Expectations as it acts as extends into the other themes such as the Appearance theme. Pip's angst over being "common," as Estella has labeled him, is his driving force to become a gentleman and entertain the "great expectations" of having bettered himself sufficiently so that he will become worthy of Estella. But, of course the class
Leola caused Dunstan to experience jealousy and pity. Diana is also controlling and manipulative, like Dunstan’s mother, which is why he leaves her. Through Diana, the reader sees how much Dunstan’s mother has affected his life with women. Liesl made Dunstan realize that he felt no emotion, and she caused him to feel it again. She brought him out of the isolation his mother put him in.
Both women are contrasting representations of Hedda. From the opening of the play her [Hedda’s] relationship with Aunt Julie is a strained one. Hedda views Aunt Julie as a symbol of what she herself loathes and could at the same time could quite easily become. Aunt Julie epitomises the idea of the domestic, dutiful woman with no true purpose of her own. She instead finds her purpose through the lives of the male characters and the arguably mediocre success that Tessman has had.
The Landlady Maddison Hyatt The creation of characters, and how the author presents his point of view to affect the audience by his use of writing techniques to challenge the readers thoughts about the two main characters. “The Landlady” written by Roald Dahl, published in the 1959, pin points his two main characters by stereotypes. Billy Weaver was constructed as a naïve, Seventeen year old boy compared to the Landlady who was made out to be an over caring, dotty, old lady. The author provides a view of the world in which women [especially older women] are caring of everybody, loves tea and fusses over people to display their love. Therefore men [especially younger men] are respectful towards the elderly, and even a little naïve.
Rita’s stereotype is of the working class wife – brash, honest and upfront about herself and her identity as implied when she says “I was dead surprised when they accepted me… I suppose anyone can get in can’t they? D’y’ think they must be desperate?” showing her insecurity and acknowledgement of her low level of academic intellect as often stereotyped of her class. She stands strikingly in comparison to the upper-middle class Frank who comes across as a jaded alcoholic, very sheltered and closed – an intellect who despite this has little knowledge or understanding of any lifestyle other than his own as suggested on page 3 where he says “(fascinated as much as he is fazed by her) Erm… Probably… “ when Rita asks whether he feels the painting on his wall is ‘sexually stimulating’ Stereotyping is also carried throughout the rest of act one, however Russell interestingly begins to develop his characters as more than their face-value and more than their stereotypes and begins to challenge the audiences’ idea of what would be expected of Frank and Rita’s behaviour. In a sense, despite in many ways following the stereotype of a young Liverpudlian woman, Rita is already different from what most people of
Mrs. Mooney was previously involved in a dysfunctional marriage to a “shabby stooped little drunkard” (61). Similar to her own marriage, Mrs. Mooney indirectly forces Polly to marry for money. Mrs. Mooney is a ruthless character as a result of her previous troubles. Consequently, Mrs. Mooney’s maternal connection with Polly is non-existent, turning their relationship into a business. When Mrs. Mooney is observing Polly’s interactions with young men, she becomes frustrated that “none of [the men] meant business” and considers sending Polly back to her previous job (63).
Her friend doesn’t appear to be proud of boastful in the story and doesn’t seem to care that Madame Loisel is poorer than her. Madame Loisel is just embarrassed of the life she lives that she doesn’t want anyone around her to see who she is and how she lives. Within the story, the reader gets the sense that she is so envious of the life that others have she doesn’t realize what she has and that she is so concerned with wanting materialistic objects that she is making herself miserable and unhappy. Her husband who notices how unhappy she is brings home an invitation to a ball hoping to make her happy. Instead, Madame Loisel becomes even more distraught because she doesn’t think she has anything that is acceptable to wear to such a formal occasion.
Cloud 9 is a play focussed on the issue of gender and identity. It is filled with stereotypical characters, particularly in Act 1. Indeed, the first lines that the character of Betty says are; ‘I live for Clive. The whole aim of my life/ Is to be what he looks for in a wife./ I am a man’s creation as you see/And what men want is what I want to be’ (Churchill, 1). Churchill shows these dominant ideas about gender throughout the play, with references to the women being ‘delicate and sensitive’ (3) and the men and boys being manly and brave, ‘it’s manly of you Edward, to take care of your little sister’ (8).