Mrs. Turpin’s judgmental attitude creates tension between herself and others. When a teenaged girl, Mary Grace, calls her “a hog” Mrs. Turpin is offended; however, Mary Grace’s judgment allows Mrs. Turpin to see herself in the realistic light of God’s eyes. Preceding her interaction with Mary Grace, Mrs. Turpin considers herself not just a woman of God but a woman like God, able to judge without be judged herself. To Mrs. Turpin, being a religious woman gives her the full and natural right to judge others. As soon as readers are introduced to Mrs. Turpin, they feel passing judgment in the doctor’s office: “She stood looming at the head of the magazine table[…]a living demonstration that the room was inadequate and ridiculous” (O’Connor 818).
The narrator states the mother’s resentment of Connie’s beauty because “her looks were gone and that was why she was always after Connie.”. Connie doesn’t make the situation between the two any better by instigating her mother with curt answers and rude responses. “Her parents and her sister were going to a barbecue at an aunt’s house and Connie said ‘no’, she wasn’t interested, rolling her eyes to let her mother know exactly what she thought.”. the only time Connie fully admits that she truly did love her mother was when she was crying in the phone for her. Connie’s father is a quiet bystander when it came to his wife and daughter heated arguments.
She states: “...her intent, her passion, her imagery, the rhythms of her speech and the nature of her thoughts” (4). Tan realizes that just because her mother’s english isn’t perfect, it does not mean that she is not capable. This revelation from Tan exemplifies a loving tone that gives the reader overwhelming emotions. Tan shifts to talking about the hurdles she and her mother had to overcome because of their English. She had no confidence in her mother growing up, and saw her as a “limit” and an “embarrassment”.
Medea and Creon 1. The evidence that Medea’s behaviour with Creon offers of her cleverness is that she is versatile; she tries many different ways of persuading him to let her stay. She implies that she is not a threat “I’m in no position-A woman- to wrong a King.” “I bear no grudge on your happiness:” and “I will bear my wrongs in silence.” She gets nowhere with this approach so she turns to pleading with Creon. “I kneel to you, I beseech you” and “I beg you! Will you cast off pity,” again she gets nowhere and in a last plea before he get his men, she appeals to kindness and like of children.
People said her meetings were disorderly, but she said she was following God. Mostly because she was being more than a wife and mother and going above her place as a woman, the church banished her. The church leadership was getting upset because she had said that certain pastors were wrong and that people should live only
Celie feels hopeless and does not want to cause her mother any more grief, pain or suffering, so she says nothing and decides to write to God. Celie sees God as the only one that she can confide in, without having to fear the repercussions of an angry mother, and an even angrier Pa. Bettye J. Parker-Smith states, “The opening statement form Pa introduces a long list of pain-stricken letters to God. […] What Celie needs is to share her burdens, be taken off the cross, and find a way to save herself” (Parker-Smith). Celie’s pain is so great that it is compared to
She unwittingly contradicts the image of the utterly devout Christian nun by being shallow and superficial. The central characteristic of the Prioress is that she is “seemly” (6), meaning that she shallowly conforms to the societally acceptable ideas of status. While she does seem kind, elegant and pious, it is because she is expected to be and because she wants to be perceived well. She appears to be sympathetic and soft-hearted, but in her tale, shows her true colors; she is biased and lacks sympathy. The touchstone line for her character is; “She used to weep if she but saw a mouse/ Caught in a trap, if it were dead or bleeding.
As can be inferred, her heart is a major hindrance in their lives, and is constantly needing attention. Another role the heart plays in the story is Mrs. Mallard’s liberation. She feels oppressed by her marriage and her husband, and wants to live for herself. When she goes to the room by herself and sits in the large, comfortable chair, she whispers to herself, “Free! Body and soul, free!.” This shows that she feels like her heart, her soul, is trapped by her marriage, and with the news of the death of her husband, she is first filled with grief, because she did love him, but later with glee when she realizes that she is free.
Creon believes strictly in Human Law throughout the play, which leads to his emotional isolation. Haemon is caught in the crossfire between Antigone’s belief in Divine Law, and Creon’s belief in Human Law, which results in his emotional isolation from Creon. Throughout the play, Antigone believes in Divine Law to the extent that it leads to her emotional isolation from Haemon and her own fate. Antigone`s firm belief in Divine Law leads to her emotional isolation from her own fate, demonstrated by the quote: “You are mistaken. I never doubted for an instant that you would have put me to death.” (Anouilh, 45) This quote shows the general and “at-ease” way in which Antigone speaks about her death, showing how she has emotionally isolated herself so that her death would not bother her.
Throughout the play, Linda has to maintain herself as she deals with the ongoing malevolence between her son, Biff and Willy and with Willy’s suicide attempts and failures of trying to fulfill the American Dream. * * Linda Loman has one mission in life and that is to devote herself to Willy. Through her loving actions, Linda takes being a loyal wife to the extremes. For example, Linda knows that their son Biff is one source of agony for Willy and constantly throughout Act One she chastises her son for not being more attentive and understanding. She even goes to say, “Biff, dear, if you don’t have any feeling for him, then you can’t have any feeling for me.” Next, she states, “He’s [Willy] the dearest man in the world to me, and I won’t have anyone making him feel unwanted and low and blue.” Another example where Linda Loman chooses her husband over her