In this essay I will explore the ways Shakespeare and Browning portray a range of disturbed characters throughout their literature. It is vital to remember that Shakespeare’s audience (in the 1600s ) and Browning's audience (in the 1800s) would have been highly intrigued by plays that involve the concept of 'witchcraft' and many other notions that raise suspicion. Likewise the modern contemporary audience who would be fascinated and aroused, embracing the characters motions and ambitions. On the other hand Shakespeare's and Browning's audience were more interested but fearful of the 'unknown'. In their day and age these characters would be judged by many factors including social and cultural backgrounds, crimes committed and personal traits.
Although Bateman “had all the characteristics of a human being” he was a resemblance of a human being who metaphorically only had “a dim corner of [his] mind functioning”. His depersonalization was so intense, that his normal ability to feel compassion had been eradicated. In a scene, Harron’s diegetic music corresponds to Bateman’s sexual tension. However, when the music stops, the juxtaposition of an orderly human being to a sadistic murderer abruptly outbreaks, denoting the suddenness in which individuals may become a devil such as being sexually attracted. Moreover, Bateman is given another reason to exterminate; having a friend who “has the nicest business card” symbolically represents an ultimately successful yuppie, who challenges Bateman’s subjectivity of the “everyyuppie” and thus, jealousy reflects much of his actions.
She references western culture in this argument to suggest our humanity is built solely upon the idea of sex as a natural force that is the basis of social structure. She further breaks her theory down into five subsets; Sex negativity, the fallacy of misplaced scale, the hierarchical valuation of sex acts, the domino theory of sexual peril, and the lack of a concept of benign sexual variation. She discusses sex negativity as a dangerous and destructive force. If sex isn’t related to marriage or reproduction then it’s considered evil. In the fallacy of misplaced scale she explains how sex acts are mixed with feelings of significance.
Lady Macbeth also plays and evil role beside him. She mocks him, if he frets over her instructions, saying that he will be less of a man if he does not follow the plan. She gives Macbeth a lecture of deceptiveness when planning the murder of King Ducan. She had also prepared a dagger for Macbeth to kill the King in advance. Though Macbeth still had doubts, she was ready to do this blood thickening job, herself.
'Perfume' tells a story in which the protagonist’s precarious position between olfactory prowess and lack of body odour motivates a string of despicable murders. One possible interpretation could be that the protagonist’s ‘ontological crisis’ comes about because of his absent mother, therefore, his lack of morals and resulting actions against women are a direct result of this earlier treatment. The amoral actions we see later in Grenouille’s characterisation could be a direct response to the events depicted in the opening chapter. Suskind chooses the structure of the opening chapter deliberately, to open the story in a way that both foreshadows and emphasizes the murderous actions of the protagonist and possibly hint that such actions are a direct result of the protagonists treatment at the very beginning of his life. Indeed the circumstances of Grenouille’s birth might prompt a feminist interpretation to look at what happens when a child is abandoned and raised without a mother.
While discussing Lenina admiringly, Henry tells the Assistant that he should “have her” some time. The conversation disgusts Bernard. Henry Foster first declares within the extract the name "Lenina Crowne", but poses the name as a question, suggesting that she is of little real importance or rather that she is merely one of many to him. His first actual description of Crowne follows this in the form of a simple sentence, also serving to reduce the woman to a mere two words: "wonderfully pneumatic". Here, one can question Huxley's word choice through the feminist lens; the adjective "pneumatic" immediately constructs for readers the violent sexual imagery of the so-named drill.
. . to a realm of unfettered vision,” lifts us out of rather than urges us into the depths which humanity in the person of Usher has touched. (4) Caroline Gordon and Allen Tate are closer to the truth when they call [column 2:] Usher “a ‘Gothic’ character taken seriously” and when they view “The Fall of the House of Usher” as “a serious story of moral perversion.”(5) Certainly perversity and maladjustment are central to a reading of Usher’s character; and if this is a story of moral (sexual) perversion, its locus, Usher’s morbid fears, express themselves overtly and
And this was what I expected sexual communication to be- a flash of insanity, a dreamlike, ruthless, contemptuous breakthrough in a world of decent appearance.” (177). In this quotation Del tells the reader that the sexual contact with Mr. Chamberlain had happened more than once and different occasions. Del also explains how the sexual contact she had received was not out of love but temptations and desires. Del had discarded the ides
This is identified in Act Two, Scene Two where Macbeth converses with Lady Macbeth about the death of Duncan. Lady Macbeth is given a reason to condescend and patronize Macbeth because of his self paralysing guilt, which lead him thoughtlessly not leaving the bloody daggers at the murder scene, leaving Lady Macbeth the dangerous task of returning the daggers, due to Macbeth’s plagued worry. ‘I’ll go no more. I am afraid to think what I have done” (P.39). This demonstrates Macbeths’ weakness in character, also juxtaposes with Lady Macbeth as she is a strong character and shows that Macbeth is easily manipulated.
Although it was Hamlet who wooed her, and with whom she was intimate it is Hamlet himself who later chastises her for her impious actions. “Get thee to a/nunnery, go: farewell. Or, if thou wilt needs/marry, marry a fool; for wise men know well enough/what monsters you make of them. To a nunnery, go,/and quickly too.” (III.i.131), he commands her, leaving her without a response. By saying these words to her he is crassly calling her a harlot, and making to appear that he never really loved her.