She is the daughter of a high priest of santería and helps guide Felicia to the religion. Luz and Milagro Villaverde: Luz and Milagro are the twin daughters of Felicia and Hugo Villaverde, and they are the granddaughters of Celia and Jorge. They resent their mother due to her madness, and they secretly slip away to visit their father. They are closer to each other than they are to anyone else, and Luz generally speaks for the pair. Ivanito Villaverde: Ivanito is the youngest child of Felicia and Hugo Villaverde, and grandson of Celia and Jorge.
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.
Romm concluded that even though Agrippina may have been manipulative and ambitious she was still able to achieve what women of the era could not. The write Cat Pierro’s argues that Agrippina the Younger’s life is one that is full of mistakes, the largest of which was giving birth Nero. Pierro interpretation of Agrippina is that she was an Austere , arrogant woman that would use her sexuality to gain power. She was jealous of any woman that tried to become close to her husband and then her son, even going as so far to order the execution of a women that her husband Claudius complimented. Eventually she vilified herself enough to turn herself not only to turn her son against her but most of the court as well.
Not only does she try to impress everyone with her appearance but she also goes along with Char, and gets in trouble because she has no ability to say no and walk away. Maleeka takes the blame at first, but towards the end of the novel she gets her courage and tells on Char. She finally finds herself and realizes she is beautiful without Chars expensive clothing. She also realized she doesn’t need to stick out; she just needs to be herself. In the end Maleeka and Caleb are backed together and Maleeka is friends with Miss Saunders.
(Page 282 lines 127-130). She has been married multiple times which back in the medieval times and even now a day that is unacceptable. She is also looking for her sixth husband. Back in the old days being sexual active came only after one is married and not supposed to be for pleasure but to reproduce (Lines 69-75). She then compares herself to those who live by society the "right" way, those are perfect people and she is not perfect so she does as she pleases (Lines 105-120).
Despite this difference, they are equally influenced by their mothers' philosophies, each sharing a desire to break away from their routine lives. Unfortunately, Hulga and Rose do not realize that what gives birth to this craving is also what makes them ill-equipped to handle the situations that set them on their individual courses of transformation. 2) The characterization of our protagonist Connie is vital to an understanding of her ripeness for seduction in Joyce Carol Oates' short story "Where Are You Going, Where Have You Been?" Connie's youth and vanity, coupled with her antagonistic relationship with the members of her family, effectively set the stage for her seduction by the older Arnold Friend. 3) In Flannery O'Connor's "Good Country People," the cynical, rude, and world-weary Hulga believes herself to be on such a high philosophical and intellectual plane that she is without illusion.
She had a loving husband, youth, beauty, and a comfortable lifestyle. However, in her mind, she had suffered from the moment she had been born into..... False Pride in The Necklace In Mauassant's essay, The Necklace Matilda Loisel borrowed a necklace from a rich friend, Mrs Forestier, so that she would not present a "shabby air in the midst of rich women." She loses the necklace but refuses to
She often portrays herself to be overbearing with her disconcerting ramblings over her children, but we know that it is out of love for them. She clings to her past with such desperation: “Possess your soul in patience-you will see! Something I’ve resurrected from that old trunk! Styles haven’t changed so terribly much after all…Now just look at your mother This is the dress in which I led the cotillion….See how I sashayed around the ballroom Laura?” (Williams 1987). Her fading youth only makes her more desperate for attention for herself and her daughter.
That a woman’s main priority should be to serve her man, is a very common ideology among Latina women of older generations. A lot of the time, the younger generations are pressured to think the same and are seen as defiant if they do not. For example, in the film Real Women Have Curves, Ana’s mother constantly nags to her about losing weight so she can attract a man to settle down with, marry him and have children. That is Carmen’s main goal, to make sure her daughters get married and start a family before she passes away. Even in the play she tells Ana, “At this age young girls should try to make themselves as attractive as possible” and when Ana questions why she does not do the same, Carmen replies because she is “already married” (López 58).
Nora and Kristine comparation In the play “A Doll's House” by Henrick Ibsen we find two strong female characters, Kristine Linde and Nora Helmer even though these characters are in reverse roles we can find many similarities between both of them throughout this play. Kristine and Nora marry for money, use Krogstad, and learn a valuable life lesson. Kristine does what she believes is right at that time by getting marry with Mr. Linde for money, instead of marrying Krogstad who she loved, due to the fact that her mother was ill and she had two younger brothers who needed financial security for which she is unable to provide. Even though Kristine stands behind her reasons for marrying Mr. Linde has been left, for the past three years since her husband's death and subsequent loss of his business, taking care of her mother and brothers, ensuring their financial security. In that time, Kristine's mother passes away, her brothers become self-sufficient, and her husband dies leaving her nothing, no money, no children, "not even any sorrow or grief to live upon" (6-7).