She was finally died of an accident, but continued to bother him even after he had married the heroin. Rebecca was a perfect example of a femme fatale, she was a wonderful woman with a distorted heart. She went against all the basic rule a good wife and had a very strong power over de Winter. She ruined herself as well as Mr. de Winter Secondly, is the frequent using of low key lighting. Right from the beginning of the film, with the heroin began to narrate the story, a dark, misty ,gothic ruin of a old manor building was presented to the audience through low key lighting technique.
The Friar responds with, “Young men’s love then lies/ Not truly in their hearts but, in their eyes jesu maria, what the deal of brine/ Hath washes thy sallow cheeks for Rosaline!”(2.3.68-90). In the first act, Romeo thought himself to be in love with Rosaline. Romeo had been distraught over the fact that his beloved Rosaline was going to become a nun. Romeo would never be able to love Rosoline, or be with her. Friar Lawrence makes fun of Romeo saying that young men only love what they see.
v line 60). However, Juliet had a different love at first than Romeo; Juliet was more cautious, “dip toes in the water, then dive in.” In my own opinion, I feel that how much you are attracted to someone physically can make you feel as though you were in love, although it would be stupid to act so rash and quickly. The moment that Romeo sees Juliet he states that he is in love. He asks himself if he has ever loved till now (act i sc. v line 59), completely forgetting about Rosaline.
It Has Been Argued That Scene 10 is The Tragic Climax, to What Extent do You Agree With This Statement? Whilst Scene 10 of A Streetcar Named Desire is the physical climax of the play, it is clear from the language used in the book and the emotions of the characters in scene 11 coupled with Blanche's "faintly hysterical vivacity", that scene 10 is not the tragic climax. For, it is during scene 11 that the audience feels most "pity and fear" both for Blanche and the other protagonists of the play and therefore, according to Aristotle, is a perfect example of tragedy. Williams breaks the book down into several key parts which build up the audience's pity for Blanche and ultimately lead to a total catharsis of emotion from them in Scene 11. From the beginning of the play, there is a building of tension amplified by the use of stage direction and music.
The men in both poems truly loved their women in the beginning, but by the end they had become obsessive, drove themselves to insanity, and slept next to the dead bodies of their lovers. God and the Angels played a role in the speakers mind, but in dissimilar ways, and both authors used some personification, one with the storm, while the other with the sea. Ultimately, love, true love, can drive you mad. The speaker in “Annabel Lee” describes his love for her as strong and powerful. He says “But we loved with a love that was more than love.” Their age had no determination on how much they loved each other; “But our love it was stronger by far than the love of those who were older than we.” In Porphyria’s Lover, the speaker describes their love more indirectly by saying she was “murmuring how she loved me.” This is very romantic, though she is still hesitant and can’t say it directly.
When reading the article Kitty wrote in the national magazine Self, she writes about how she thinks about her father saying,” My father may love me but he doesn’t love the way I live, even more complicated because I’m gay”(Gaitskill 460). She exposes his selfishness from her own point of view, and he reacts by such
In the initial meeting between Stella and Blanche, Blanche tells Stella to "turn that over light off!" This is a first allusion to Blanche's abhorrence to too much light. It associates with her moth-like appearance and will later develop into one of the manipulating themes throughout the play. Her fear of light will be seen to be connected with the death of her first husband and her fear of being too closely examined in the cold hard world of reality. She prefers, instead, the dim, illusionary world of semi darkness.
James Panaho To what extent is Blanche Dubois a modern tragic hero? Blanche Dubois is the protagonist in the dramatic plays by Tennessee Williams A Streetcar Named desire. To a great extent Blanche Dubois is a tragic hero. She is similar to other tragic hero’s of earlier literature from Shakespeare’s works Brutus from Julius Caesar and Macbeth from Macbeth and she delivers abreaction due to her wrong doings and her inevitable downfall but it is not clear to the audience what happens to Blanche after this. Greek philosopher Aristotle suggests that a tragic hero must evoke pity or fear in the audience’s eyes.
As her best friend, Elaine, takes away her dream of winning a poetry contest, she seeks revenge by stealing Elaine’s boyfriend. In this situation, Lysandra also becomes egotistical, and decides to emotionally hurt her friend, to regain her power to write. Identical to Narcissus, she was selfish and only cared about her own emotions in the situation of Elaine stealing her dream. Narcissus’ is held captive under his own “beauty” and lives life aimlessly. His loss of opportunity to love someone who loved him back, made his life unfruitful and meaningless.
In A Streetcar Named Desire “Tennessee Williams created two of the most dramatic characters, Stanley Kowalski and Blanche Dubois” who showed an example of a victim- villain relationship, although it is not always clear who is the victim or villain both share these qualities throughout the play (Rollyson). When the play begins, Blanche DuBois, Stella’s older sister who is new to New Orleans is described as a “romantic woman who lives in the past”(Rollyson) enters the Kowalski home a “fallen women in society’s eyes”(Spark Notes). Blanche was left at Belle Reeve, the DuBois home in Laurel, to cope with the loss of family members and debt. Stanley quickly sees through Blanche’s act and seeks out information about her past to send her away and sabotage her relationship with Mitch. Stanley is an ideal villain because he is aggressive, controlling and Stella even proves that Stanley is violent and loud when she says he is “always smashing things” (Williams 64).