Curleys wife, In John Steinbeck’s novel ‘Of Mice and Men, is an example of how the readers perception of a character can change without the character actually changing. Curleys wife is first introduced when Candy describes her to George. Candy says things such as “she got the eye” and goes on to describe her as a woman who likes to look at other men and then finally calls her a “tart”. Through Candy’s words we develop an initial perception of Curley’s wife as flirtatious and promiscuous. This perception is further emphasized by Curley’s Wife’s first appearance in the novel.
There are many similarities and differences in Of Mice and Men when it comes to the book and movie. Let’s start from the beginning, when we first seen Curley’s wife in the movie, she had brown/black hair. In the book, it tells you that she has blonde hair when she first steps into scene. Later on in the movie, Lennie goes into Crook’s room when he’s in the barn with the puppies. Candy then shows up, then George.
Waters’ also uses two narrators which creates tension and builds the reader up to knowing the truth. Waters’ uses Gentleman to play a key role in the deception between Sue and Maud. “’Then I’ll take her unsuspecting to the madhouse gates’” Gentleman says this as a way to get Sue to play along, it is also foreshadowing that, in fact, it will be Sue entering the madhouse which means that she does not suspect her fate. The use of the adjective ‘unsuspecting’ suggests that they are going to trick her. We, as the reader, see this as unfair but they see it as normal as during the Victorian times, a husband could put their wife in a madhouse without question.
Candy also says “Curley’s married . . . a tart” which shows how Steinbeck wants to present Curley’s wife which is in a very crude manner. The word “tart” which shows the impression and effect Curley’s wife has on other workers on the ranch.
When Steinbeck quotes “And because she had confided in him, she moved closer to Lennie and sat beside him”, it is clear to the audience that Curley’s Wife is using her sexuality as an object to create some sort of excitement for herself. Another obvious point in this extract is the confession of how she “coulda made somethin’” of herself.
A Doll’s House In Henrick Ibsen’s A Doll’s House, the main relationship we see is Nora Helmer and her husband Torvald Helmer’s. Their relationship is seemingly influenced by their era. When first reading the play, one may suggest that the women in this play are victims of this era. As the plot develops, we see that the relationship is also influenced by Nora’s lies, which suggest she was also a victimizer in her relationship, aside from her era. By the end of this play, we see how Nora’s secret changes the relationship between the couple, as she violates the stereotypical role-play as a wife and mother in her era, which generates her inspirational growth.
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.
Curley’s wife is an important character in the story because she is linked to all the major events in the novel. When we first hear of her we are told by Candy in chapter 2 that she’s a “tart” and “she’s got the eye”, so we assume by that description of her she likes male company and enjoys being the centre of attention. When we actually meet her in the story she was dressed very provocatively and made up. George’s first impression of her was “Jesus, what a tramp”. Then George warned Lennie to keep away from her; “Listen to me you crazy bastard, don’t you even look at that bitch.
The wallpaper is used characterically to reflect the marriage the narrator finds herself ambushed inside. At the start of the short story, the wallpaper is merely seen as an aberrant bore, but as the narrative progresses, the wallpaper becomes much more baleful and frightening. As a site of symbolism, the symbol has three functions in Charlotte Perkins Gilman s ’, “The Yellow Wallpaper”: it reveals the wallpaper including the imagery, imprisonment and symbolism. The imagery of the wallpaper in Gilman’s “The Yellow Wallpaper” transitions as the short story is developed in order to emulate the increasing realization of the monopoly the narrator’s marriage has upon herself. 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).
In the end, Dickinson compares being a ruler, Czar, as comforting and being a wife as pain. She then mentions that regardless of the title of her role, they both are the same. The plot of the poem appears to be the struggle of a girl’s innocence transformed into a woman, whom is now a wife that is just the same as a ruler, Czar. The plot, in relation to its structure; 1. She differentiates her 2 roles, a woman and a wife.