She is first perceived as a weak character who Iago says keeps many thoughts to herself: "She puts her tongue a little in her heart," meaning that many of her most critical thoughts remain unsaid. Even Desdemona has to encourage her to speak. This silence throughout much of the play may be one cause of her drastically changing at the end. Initially Emilia sets out to please Iago without question, as this was her role as an Elizabethan wife, however at the end she speaks against him when she realizes his true intentions. Her change at the end of the play could show that she’s isn’t an outsider, as she now has her own opinion and her own voice like many of the other characters within the play.
It could also be viewed as the plastic meaning suffocation and overpowering material goods that are not needed but somehow are the most important subjects to these women. These respectable women however in Duffy view are artificial and fake. They only talk about trivial subjects because, language embarrassed them. This could mean a literal language such as swearing or a subject which is rude or not talked of in high society. Or meanings that they are uneducated or cannot express themselves well and therefore find it hard to communicate with each other.
The gesture also inspires Edna to speak openly and freely and by doing so Edna feels intoxicated as if she tasted “the first breath of freedom” [VII Chopin]. Madame Ratignolle’s sympathy gives Edna the courage to say what is on her mind without censoring, an exercise that helps her outward existence and inward life to correspond. To Edna, Madame Ratignolle is an embodiment of the mother woman, and through her presence Edna realizes that she is not like her, and that she does not want to devote herself to her husband and children, she would rather have some space and freedom for herself to pursue her interests. Thus Edna realizes that she is not and does not want to be a mother woman. This realization helps Edna further understand herself and she gradually starts neglecting her marital obligations in action rather than only questioning them in her head.
Emma is pretentious and snobby as a result of her position in society. She has a false sense of intelligence as a result of her power and Austen gently mocks this using irony, ‘The real evils of Emma’s situation were the powers of having too much her own way.” Due to her higher position, she feels charitable when she befriends Harriet and she feels inclined to interfere with the lives of others. Knightley, Emma’s neighbor, does not care for Emma’s social status and thus is immune to her influence and does not hesitate to criticize her, “Mr. Knightley, in fact, was one of the few people who could see faults in Emma Woodhouse, and the only one who ever told her of them”. It was his constant scrutiny and Emma’s many failed matchmaking attempts that pushed her to realization.
The final line “Who could not say, ‘Tis pity she’s a whore?” can be seen as directed towards her and so she is blamed for everything that has occurred. Throughout the play she is seen as quite powerful and headstrong by refusing many marriage proposals and being quite stubborn in doing so. However, she is reduced to a weak being however upon dying which is a culmination of her passions. It is perceived that women are a danger to men and to society as a whole and so Giovanni’s actions are to be blamed not on himself, but on Annabella because of the beauty she possesses. Giovanni states that Annabella’s “lips would tempt a saint” thus showing the corruption her presence inflicts upon even the supposed innocent of men.
It’s ironic that Marlene sympathises with characters of Act1 and doesn’t realise the catharsis of her unconscious manifesting itself in this surreal scene. Again, presenting a negative impact of
She does not wish to leave her husband’s side despite the accusations; in fact it is because of her purity that she holds herself to the enticing idea that her husband will believe her. Her innocence is unfortunately her downfall, she is one of a pure heart but that is not enough to outweigh the burdens of her being so naive. Despite the fact that she is a well spoken and confident, it does not seem to help her in overcoming the control and authority that Othello possesses. She makes attempts to defend herself in the accusations that were made against her from Iago, Othello’s ensign. The goodness of her character was not enough to withstand the evil and manipulative ways of Iago, in addition to Othello’s authoritative stronghold.
This is wildly contradicting her cold persona. This is one of the first times you see another side to Lady Macbeth and realize that she’s still has that human compassion; even after calling upon evil spirits to ‘stop up the access and passage to remorse.’ Most of the sentences are either very short or one worded when Lady Macbeth and Macbeth are talking to each other. Especially straight after Macbeth told Lady Macbeth that he had ‘done the deed’ and whilst she was questioning him on the noises he was hearing. This shows that they’re incredibly nervous and can’t talk to each other
In the playwright ‘Much Ado About Nothing’, the protagonist, Beatrice, can be interpreted in many different ways. Her attitude and character is portrayed by how she expresses herself and the way in which others view and react to her – something that can be construed differently by different people. This essay will review the ways in which Beatrice is interpreted within the performed versions studied, commenting on the way she acts and how others perceive her. Beatrice’s character is depicted as the opposite of a typical Elizabethan female. Whilst being feisty and brash, she does not define herself by men and is against the idea of love – something very rare during the era when the play was set.
Desdemona’s innocent, loyal, and honorable traits contribute to the theme that things are not always as they seem due to Othello’s failure to recognize them in his moments of jealous accusation. Desdemona’s most obvious trait is that of innocence. It is shown clearly throughout the whole play through her religious faith, dedication to Othello and her disbelief in any act of betrayal. In the beginning of the play, Othello too is dedicated and in love with Desdemona. Although, by Act IV of the play Othello is convinced, by Iago, that Desdemona is a “whore” and dishonorable to their marriage.