In ‘The Devils Wife’ Carol Ann Duffy’s presentation of Myra Hinley can be interpreted in many ways. The language Duffy uses is effective in showing the corruption of Hinley by Ian Brady, this effect is created using the short sentences and language which is blunt and doesn’t flow well. This effect makes it seem as though everything seems to be happening very fast for Hindley as if she's got no control over her own actions almost; 'I know it was me who was there.' this make it seem as though she is acting without thinking as though she has no personal control and it shows the corruption that has come from being obsessed with ‘the devil.’ The language used is very blunt, this helps the reader see how Hindley is drained of humanity because of Brady, ‘He held my heart in his fist and squeezed it dry’. Sentences ans sections of poems are repeated which gives the impression of Hinley slowly losing her mind throughout the poem.
Miss Bingley Miss Bingley is a foolish and scheming character. She is shown in such a light that she is the complete opposite to that of Elizabeth Bennett; she is desperate for Darcy’s attention. "'Eliza Bennett,' said Miss Bingley, when the door was closed on her, 'is one of those young ladies who seek to recommend themselves to the other sex, by undervaluing their own...but, in my opinion, it is a paltry device, a very mean art.'" Miss Bingley immediately shows the reader her distaste to Elizabeth by trying to show Darcy what she believes is Elizabeth’s scheming character when in fact it is her that is the one trying to fool Darcy and the reader into thinking lowly of Elizabeth. Miss Bingley uses lots of pauses in her sentence possibly to show the reader that she may be pausing to see the effect her words may have on who she is speaking to.
Explore the ways disturbed characters are presented in Shakeapeare’s Macbeth and Browning’s My Last Duchess, The Laboratory and Porphyria’s Lover. This is essentially a “use of language” essay, you need to show HOW the disturbed natures of the characters are conveyed, not just say how they show themselves. The essential point of this essay is to demonstrate what Shakespeare and Browning DO to convey the disturbed nature of the characters – not just saying what disturbed things the characters say or do, but what poetic and dramatic techniques the authors use to show their distrurbed natures. You MUST use quotations to back up every point you make. If you are hoping for the highest grades (B and above) you must make comparisons between the characters in the poems and Lady Macbeth.
The use of slapstick by Wilde produces a contrived and absurd plotline that is in every way unrealistic. The lack of morality in the characters defines how undeveloped they are. For example, Algernon uses the aphorism, "The only way to behave to a woman is to make love to her if she is pretty, and to someone else if she is plain" highlighting his ignorance and casual selfishness. Each one of the characters is in some way lacking either true morality or even awareness of reality. Gwendolyn in particular is fond and proud of her education yet in the end she easily forgives Jack for lying to her throughout the play underlying a sense of stupidity.
The use of a repulsive worm as the symbol for truth implies that the narrator views illuminating truth negatively. The magnifying glass’s reflection of visible and invisible truths illustrates the narrator’s point that close inspection of the truth will highlight both personal flaws and the flaws of others. Without the magnifying glass Strephon and Celia would never have noticed the worm in Celia’s nose. However, once Celia sees the worm she is unable to ignore it and faithfully directs the worm out of her nose from head to tail (65-66). Celia’s dedication to removing the full worm indicates a compulsive
In both Shakespeare’s, Taming of the Shrew, and Wolfe’s, A Room of One’s own, the writers’ illustrate the deviously suffocating repercussions of sexism on liberty and the human spirit. Judith and Katherine are both intelligent and free-spirited characters with the brightest of futures, yet society and its rules perniciously choke their existence from them. The slow destruction of each woman is made more tragic by the promise and potential stolen from them and the world. An example of Judith’s untapped intelligence is in Wolfe’s description of her ability to read, write, and think for herself despite the restrictions placed on her by her family, “She had no chance of learning grammar and logic, let alone of reading Horace and Virgil (Wolfe 1021).” Katherine’s self-confidence and pride are seen in her world-wise response to Petruchio’s advances in Act II, “Too light for such a swain to catch, And yet heavy as my weight should be (2.1 .204-205).” Moreover, her true nature, that of a caring and loving person not a mean and spiteful shrew, is displayed in the first thirty lines of Act II when Katherine in genuinely concerned about her sister’s predicament and the hurt she suffers when her flippant sister merely taunts while metaphorically and literally hiding behind their father. As both authors continue to develop their characters, they begin to describe the shackles that their families and society place on them and their eventual downfall.
Blanche reiterates her selfish character at the beginning of her speech, starting it with “I, I, I, took the blows in my face and my body!” The repeating of the word “I” seems unnecessary and, if anything, the audience feels sympathy for Stella. Even in the opening scenes of the play, Blanche is shown to be haughty and patronizing, in her referral to Stanley’s friends as ‘Polacks’ and ‘Heterogeneous-types’. The language she uses is offensive, and it seems that she means to subtly undermine
Creon becomes too vain that he assumes Haemon “is hopelessly on the woman’s [Antigone’s] side” (224). Creon’s ignorant qualities evolve him to make imprecise choices. Creon is the “real tragic hero” in the play Antigone because of his insensible defects and his destiny which evolves
From the outset, the presenter sees those responsible for the releasing the chickens as hooligans and strongly despises their actions. This is evident when he employs a disparaging tone to tarnish the character of his targets. A shift into a compassionate tone is used to instigate a feeling of questionability within the audience.
For example she suggests that Naraian lacks sensitivity and maybe courage when she describes him: ‘busy eating the flesh around the stone of the mango’ (238 - 9). There is something furtive about him when: ‘He looked at her out of the corner of his eye, then decided to be bold: turned out the light’ (275 - 6). Again, he seems guilty when Jhabvala describes him thus: ‘Cathy caught Naraian’s eye again; he looked away quickly’; and he seems spoiled, mildly pathetic and something of a bully