She deliberately follows through with her marriage to Edgar Linton, despite her open proclamations of love for Heathcliff, with whom she grows up and loves irrevocably, only to unceremoniously abandon because of his insufficient societal rank. She knows that Heathcliff feels devastated, yet does not believe that she has been disloyal to him. She is too blind to see past her own momentary desires. As a result of her betrayal, Edgar and Heathcliff are tossed into a downward spiral of competition, jealousy, and heartbreak. Edgar loves Catherine unconditionally, but knows he has been rendered second-best to a man for whom she holds deeper affections.
Antigone believes that without burying her brother he will not have a good after-life. Antigone even goes as far as burying him twice. Antigone is more admirable in that she is not selfish. She cared for her brother so much that she would go through all this trouble to give him a good after-life. She wanted to marry Haimon but sacrificed this to bury her brother.
As Antigone fights against the authority to bury polynecies she comes into conflict with her uncle, Creon. Creon decides that she is to be punished even though she is family. He also gives her a chance to say that it wasn’t her, but she takes pride in the honor of her brother, and pride in the struggle that she went through to stay faithful to her family. This leads to conflict between her and Creon which diminishes their relationship “I intend to give my brother burial. I’ll be glad to die in the attempt,-- if it’s a crime, then it’s a crime that God commands.” This is stated by Antigone and it is showing that she would give her life to stay loyal to her family and to give her unburied brother the proper
Be sure to label your examples. Verbal- "I know you're a good man!" - Grandmother Siuational when the Misfit finally allows grandmother to see herself as a sinner Dramatic- the grand mother sees herself as a nice ldy but the audience knows other wise. She lies and uses rasict language. 3.
In the poem “Medusa” gender conflict through control is also illustrated when she says: “a suspicion, a doubt, a jealousy”. This depicts that she feels ownership over her husband and wants him to “be terrified” if he does not obey her commands. However, in “Les Grands Seigneurs” the narrator conveys that after she was “wedded, bedded … a toy, a plaything … wife” she is nostalgic for the first three stanzas to how men were towards her before she was married as she is now powerless. We can depict that there was less gender conflict before she was married. Moreover, in “Medusa” powerlessness is also portrayed when she rhetorically questions herself “Wasn’t I beautiful?
This is corrupting the mind of young Hamlet, which they think is making him go crazy. “Yet so far hath discretion fought with nature That we with wisest sorrow think on him Together with remembrance of ourselves. Therefore our sometime sister, now our queen, Th' imperial jointress to this warlike state, Have we—as ’twere with a defeated joy, With an auspicious and a dropping eye, With mirth in funeral and with dirge in marriage, In equal scale weighing delight and dole— Taken to wife.” This shows corruption when Claudius is saying that even though his brother past away he still has to move on with his life and mourning wouldn’t help Denmark retrieve its natural appearance. Also, Claudius would do anything for power and he will do whatever it takes to get the crown and Gertrude’s heart. Deception is portrayed when Claudius decides to balance out the mourning of Denmark to announce his marriage to his brother’s wife, Gertrude.
No matter how “inexplicably drawn to [the downright]” men she may be, her character is one that almost mirrors her grandfather’s. The incomprehensible attraction that Vanessa had for the “downright” men was the individual effort from her to be able to choose her own identity. Upon comprehension of her futile attempt to run away from what she is destined to be, she questions her personal choice and “[wonders] if [she will] ever catch up to [being like Uncle Dan].” Vanessa recognizes the distance between her true nature and the character that she seeks to choose. Her understanding and ability to feel what her family feels and to be able extend their sorrows and misery to her is what allows her to realize that her identity is an inherited character that she emulates from her
Even though the narrator knows that the Little Seamstress is off-limits, being Luo’s girlfriend, he can’t help wanting her. He knows clearly that he shouldn’t intervene in his best friend’s relationship, but it’s human nature for him to be selfish, to want to have her for his own. Sijie emphasizes how the narrator can’t control his feelings later on and how deeply he is in love with the Little Seamstress: “She was my soul mate and I was ready to spend the rest of my life taking care of her, content even to die a bachelor if that would help” (159). As the story goes on, the narrator is unable to take back his love for the Little Seamstress, despite her still being Luo’s girlfriend and carrying his child. This jealousy that he has for Luo changes their friendship.
Idealized Love “When we fall in love, we believe our partner is irreplaceable. We have found the one who is perfect, just right for us. The act of falling in love, in a sense, means that we reject the notion that individuals are interchangeable” (Gianotti). In F. Scott Fitzgerald’s novel, The Great Gatsby, idealized love strongly motivates the key characters Jay Gatsby and Daisy Buchanan. While their journey together begins as a brief fling, the two are soon engrossed in a lifelong relationship filled with undying affection and enduring regrets.
Lear's pride keeps him from listening to the advice of Kent, the king's most loyal follower, after he banishes Cordelia and admitting he may have been wrong. Because of this pride, he willingly submits himself to the corrupt will of his other two daughters. “What wouldst thous do, old man? Think'st thou that duty shall have dread to speak when power to flattery bows? To plainness honor's bound when majesty falls to folly.” (1.1.146-151).