Romantic movies distort and create false expectations of true love. They show exaggerated stories that are used to entertain, yet young women get wound up in the thought that they will find someone that will meet up to these expectations. These set beliefs can affect them in a negative way and often lead to disappointment. Books like A Midsummer Night's Dream, The Great Gatsby, and movies like The Notebook are all examples of love stories that produce that false hope. Women begin to think that they will find a perfect man that will hand them the world, that they should dedicate themselves to finding this man, and that they deserve an elaborate story full of passion and desire.
First, the sounds are of everyday hustle, bustle and play, and these reassure her that there is some stability in this abstract place of this very abstract play. At first the Lady in Red seemed lost and somewhat confused, but the sounds she heard seemed to put her at ease. In a few moments though the sounds become more distressing and her curiosity turns to fear, and then to despair. As her dancing around shrinks inwards to searching for a sanctuary, a noose drops from the ceiling in what is one of the eeriest moments of the play. Strangely, she seems to know exactly what to do with it, as she feels it first with her hands and then with the edges of her face as she threatens to slip the noose on.
She born as General Gabler’s daughter so she feels for a better destiny and imbues with romantic vision of making one’s own life a work of art. She could be imagined as distinguished, beautiful, proud and even in her defiance of her surroundings and in the gesture of her suicide. Hedda is pitiful because she is a tormented creature caught in an era that society imprisons women in limited choices, as a victim, in spite of her desperate to control the fate of others. With Hedda’s manipulative character, her desire of a “beautiful” death and her fear of scandal are the core characteristics that compels her to manipulate Lovborg in killing himself and leads herself to commit suicide. When Hedda first appears in the play, she is a cool character who has control of her emotions and actions.
When Lancelot is going to see the Lady of Shallot, she knows she is stepping into dangerous waters, but still goes along with it. Her image of herself turns so bad, that the basically kills herself and unhappy and lonely woman. After she is dead, Lancelot sees her and only says that “She has a lovely face,” demonstrating that he only cared about her looks and not really her inner beauty. The Lady of Shallot is a round character because she changes throughout the short story. At the beginning, she believes in herself and who she is as a person, but she is lonely.
She has a quick eye to see what is weak or ridiculous in man or woman. “Has Signior Mountanto returned from the wars or no?” This is how we are introduced to this fascinating woman who at first seems spiteful and full of scorn. It is perhaps not a coincidence that her very first dialogue in the play betrays her passion Benedick, although it is masked by sarcasm. Benedick and Beatrice’s lengthened relationship is made known to us over the course of the play. They have always had “a skirmish of wits” between them.
The Lady of Shalott “The Lady of Shalott” is a poem addressing the passion of a girl who longs to be known and loved. Being alive, but having no one around to notice isn’t the ideal life to live. This poem shows the eager want and need by a girl, who wants nothing more to be known by a world that is unknown to herself. The Lady of Shalott is an unknown woman on the island of Shalott. The speaker says, “Four gray walls, and four gray towers,/Overlook a space of flowers,/And the silent isle imbowers/The Lady of Shalott” (15-18) letting the reader know that the Lady of Shalott lives in a castle built of four towers on the island of Shalott.
More self loathing and doubt is shown by Helena, and her friendship with Hermia is futher explored. She asks Hermia if she “conspired.. with these contrived to bait [her] with this foul derision” (49). This insecurity continues until the characters are released from the fairies’ spell, and then Helena seems to accept Demitrius’s love for her, saying that she “found Demetrius like a jewel, [her] own, and not [her] own” (68), meaning that their love was not grown over time, rather that it was stumbled upon. She seems more confident in saying this – confidence perhaps given by the
Character Sketch of Blanche Dubois In Tennessee William’s play A Streetcar Named Desire, we are introduced to Blanche Dubois. Blanche is a misplaced southern belle who as a last resort, comes to live with her sister Stella and husband Stanley for the summer in their modest home in New Orleans. Blanche arrives in a fragile state of mind, but maintains her aristocratic façade nonetheless. To an onlooker she is a walking paradox to her surroundings. Looking polished and proper in “a white suit with a fluffy bodice, necklace and earrings of pearl”, Blanche appears to be a striking contrast to the city that is noticeably decayed, rickety and grey (13).
Female Feeling in Emily Dickinson’s Poem under the Theme of Death --Because I could not stop for death Because I could not stop for death written by Emily Dickinson is regarded as a masterpiece of Death in public. This poem described Death as a lovely and even a respectable image in a euphemistic way instead of as a terror and trembling impression as usual. Also it shows everyone a different view of death in Emily’s mind. What’s more, under general image, there also exist a more tactful but vague personal female feelings. I would like to analyze the poem from a point of view as a female.
This expression of desperation brings to light the fragility and vulnerability the protagonist feels emotionally. Although she goes on to describe her friend as "childish and self-absorbed and given to sulky moods in the presence of showy, superficial people", she also states that she "adored and feared [her companion] knowing [she'd] break [her] heart, [her] heart that had never before been broken because never before so exposed" (Oates 78). Thus, the narrator acknowledges her ally's faults yet still loves her beyond the boundaries of friendship, baring a weakness in love. When suddenly with an intimate touch of the wrist and an eager whisper, although her inward thrill is disguised as outward irritation, she readily she follows her friend and disregards her pushiness as she beholds the sight of another girl-poet like