However, this fails as Bagsley enjoys being able to make Ishmael afraid and continues to tease him. Ishmael becomes very unhappy and deeply pessimistic. Ishmael’s hatred of Bagsley leads him to desire revenge. This causes him to a plan to humiliate Bagsley in front of the whole school and Bagsley’s parents during his participation of the prayers of petition. The author draws parallels with Captain Ahab who was so consumed by revenge that he sacrifices his own life and all the sailors for whom he is responsible.
They both display the Machiavellian trait of whoever holds the power holds the right to control and both the sisters exert this fairly ruthlessly. In Act 4 Scene 4 Regan regrets her decision to spare the blind Gloucester’s life: “It was great ignorance, Gloucester’s eyes being out, to let him live” suggesting her indifferent attitude to what Gloucester calls a “horrid act”. Goneril also suggests a demonic personality through her treatment of her husband Albany calling him “milk-livered” when he questions her wish to kill her own father. He retorts fittingly by saying “see thyself, devil”, implying Goneril has changed vastly from the woman he married and the only explanation could be possession by the devil to justify her evil. Similarly, Goneril is insulted by her father when he calls her “[a] marble-hearted fiend” and a “sea-monster” however although Goneril’s later actions of agreeing to her father’s murder is inexcusable, Lear’s accusations in Act 1 Scene 4 show Lear’s own struggle with female dominance cause him to be unfair to her.
Gender Roles in Antigone Antigone, a tragedy written by Sophocles, is about a girl who has a sister and two brothers. The brothers fight over the throne of Thebes and end up killing each other. Creon, who is Antigone’s uncle, gets the throne and orders that any one attacking the city will not get a burial but will be left out to rot. One of the brothers is buried and the other is left out to rot. Antigone doesn’t like having her brother be dishonored with no burial, because she loves him, so she takes it upon herself to bury him.
Brabantio, furious by the intentions of marriage of his daughter to “the Moor” believes that Othello used drugs and witchcraft to steal his daughter from him “O thou foul thief! Where hast thou stowed my daughter… though hast enchanted her” (1ii62-64) this overstatement shows the sudden disregard of Othello’s previous power in the community as an army general and the immediate hatred he receives as a result of the colour of his skin. Iago once again plans to ruin Othello as he suspects his wife has been unfaithful with Othello, and goes out to destroy his marriage, just adding to Iago’s anger causing him to
No sane father would want to hit his children and wife, but when threatened with damnation and poisoned with anecdotes of God’s might, Eugene is moved to do anything he can to keep his family “safe”. He is horrified and hurt when his children disobey him, as though they were “sinning” for the sole purpose of angering him. Kambili recalls when her father punished her and her brother, Jaja, for a minor “sin” they committed: “‘Kambili you are precious.’ His voice quavered now [...] ‘You should strive for perfection. You should not see sin and walk right into it.’ [...] He poured the hot water onto my feet [...] He was crying now, tears streaming down his face. [...] I wanted to say ‘Yes, Papa’, because he was right, but the burning on my feet was climbing up, in swift courses of excruciating pain” (Adichie 194-5).
Jason accuses Medea of overreacting. He claims that his decision to remarry was in everyone's best interest. Medea finds him spineless, and she refuses to accept his token offers of help. While visiting Corinth, Aegeus, King of Athens, offers Medea to come live in his home city in exchange for her knowledge of certain drugs that can cure his sterility. Now guaranteed a home in Athens, Medea has cleared all obstacles to completing her revenge, a plan which grows to include the murder of her own children; the pain their loss will cause her does not outweigh the satisfaction she will feel in making Jason suffer.
When we think of the anguish this miserable falsehood must cause the innocent relatives and friends of the deceased, we are almost driven to incite an outraged and insulted public to summary and unlawful vengeance upon the traducer. But no -- let us leave him to the agony of a lacerating conscience -- (though if passion should get the better of the public and in its blind fury they should do the traducer bodily injury, it is but too obvious that no jury could convict and no court punish the perpetrators of the
MEDEA: Yes, it is by doing so that I shall hurt my husband most. CHORUS: But no woman would then know greater misery. MEDEA: So be it!” (Euripides, Lines 16 -19, p72) The audience’s attitude towards Medea will have changed at this moment, as the fact of killing her own children was the most outrageous part of this play. It is also at this point that she distances herself from the audience and most importantly, any
He sins against his whole family and by thinking that love can be quantified. And as it turns out, Lear isn’t only separating his family but power and responsibility as well. His very unpredictable, easily aggravated temper causes him to act wrongly and irrationally towards Cordelia, his favorite daughter who, he believes has betrayed her. Lear cannot understand that anyone’s, let alone his daughter’s, love for him could be ‘nothing’. I think pride, anger and greed for power prompted Lear to make the decision of giving up the kingdom to his malicious, hateful and ungrateful daughters, Regan and Cordelia.
Hamlet reveals his disgust towards her marriage to his uncle, describing it as morally offensive, “incestuous” and he admonishes his mother’s weaknesses, saying “frailty thy name is woman”. • It is strongly suggested that Gertrude is an adulteress, weak and easily persuaded by physical love and Hamlet feels disappointment, anger and betrayal towards her. In turn, she seems to regret her actions at pivotal points in the play. She realises that it is HER behaviour that has altered her son’s perception of the world and she expresses this aloud to Claudius. She realises this, especially in the ”Closet scene”, when Hamlet “speaks daggers” to her regarding her relationship with Claudius.