She told him to look as innocent as a flower, but to have the intentions and slyness of a snake. Lady Macbeth was teaching Macbeth to be a Machiavellian prince; one way on the outside, but the complete opposite on the inside. For a woman to say such things and want such qualities; showed Lady Macbeth as a true ruthless character who will step through anyone to get her
However as both plays progress we begin to see that Nora and Mrs Arbuthnot are not like the stereotypical woman of this society when they begin to show courage and independence. Wilde has used the title of the play, ‘A Woman of No Importance’ to convey how woman were viewed in that society (which was second best to men.) This links nicely with Ibsen’s idea of calling his play ‘A Doll’s House’ and ‘doll’ being a metaphor for Nora and how she is treated by her husband. In ‘A Woman of No Importance’ the majority of the play is the unravelling of Mrs Arbuthnot’s big secret about her second life which presents woman to be highly secretive. In comparison, throughout ‘A Doll’s House’ we pick up hints that Nora is a secretive woman and later come to realise that like Mrs Arbuthnot she has being hiding a large and important secret from her loved ones, and that is that she has taking a secret loan out in her husband Helmer’s name which presents woman to be extremely devious.
His sisters, First Corinthians and Lena, whom author Toni Morrison keeps in the background of the novel’s main events, are suddenly transformed into deep, complex characters. The two sisters, who have spent their lives in Dr. Foster’s parlor making fake roses, refuse to be aristocratic sweatshop workers any longer. The fact Corinthians works as a maid even though she has acquired a college degree does not make her feel inferior but rather it liberates her socially. Furthermore, the fact that she finds true love outside of her upper class social status shows that Morrison is making an attack on class consciousness. Lena’s revolt comes out during her confrontation with Milkman.
Donna Woolfolk Cross explains in her article, "Propaganda: How Not to Be Bamboozled" that propaganda shapes our attitudes on thousands of subjects by tactics such as name-calling which "consists of labeling people or ideas with words of bad connotation" (Cross 210). Aunt Lydia uses name-calling by stating that these women were lazy sluts and explains how important and how much better childbirth is in Gilead in comparison to the old days. Her manipulative speech is what blocks the handmaids from thinking, only to react unquestioningly. Cross's article explains that glittering generalities "try to get us to accept and agree without examining the evidence" (Cross 211). Aunt Lydia's use of glittering generalities and convincing tone of voice makes these women accept whatever she defines them as, giving no reason to think otherwise.
This can be seen in Scene 1, where Rita is struggling to get in past the worse-for-wear door. When she eventually makes it in she says 'It's that stupid bleedin' handle on the door. You wanna get it fixed!'. This creates comedy because she is putting Frank in his place, telling him exactly what she thinks of the door and giving him orders like a teacher would do. What makes this more comedic is the fact that this is the first time she and Frank have met; these are the first words Rita says face to face with Frank.
She rises ominously and quietly and moves toward Happy, who backs up into the kitchen, afraid” (Miller 1457). Happy brought her flowers as if it would fix everything and saying that Willy had a good time, but Linda bursts at them to leave and reveals how she feels about her sons. Linda shouts, “Did you have to go to women tonight? You and your lousy rotten whores!” (Miller 1457) She does not want the boys to torment Willy anymore and orders Happy to
Throughout most of the play Mary is accepted by the girls and the court as she just follows along with them without and disturbance. However she chooses to defy Abigail, to do what’s right and an automatic disassociation began between her and the girls. Miller uses stage directions to express the exclusion to the audience “[She glances at Abigail who is staring down at her remorselessly]”. However under the pressure Mary breaks and she once again makes a decision to follow along with the girls’ hysteria to once again belong. Once again Miller uses stage directions to show her reunite with the girls “[they all watch, as Abigail, out of her infinite charity, reaches out and draws the sobbing Mary to her].
How've you got your hair fixed—what the hell stinks? Hair spray? You don't see your sister using that junk” (Oates 371). In this paragraph, it is evident of the disapproval of her mother for the way she does her hair and her lack of
Emilia is Desdemona’s maid and she has a mind of her own. Through discussions she has with Desdemona the reader can concur that she will do anything necessary to get to the top even if that is sleeping around. She also says in one of her and Desdemona’s conversations that women only cheat because men have taught them to do so by neglecting them and fraternizing with other women. Emilia is a woman who although different from Desdemona is not all bad. She is as duped by her husband, Iago, as much as the rest of the cast and she tries to amend her wrongdoings in the end by telling the truth to Othello although she is too late to save her mistress, Desdemona.