Both the poem “Warren Pryor” by Alden Nowlan and the short story “Harrison Bergeron” by Kurt Vonnegut, Jr express a depressing tone. “Warren Pryor” is about a son who chooses a career that he dislikes in order to please his parents. “Harrison Bergeron” is about a dystopian society where excellence in any way is considered a disadvantage and inequality for others. In both texts, the protagonists all face the barrier of having their nature being stifled; however, the speaker in the poem chooses not to fight back for himself, while the majority in the short story is not even able to realize the barrier that they face. In the poem, the speaker Warren Pryor is under the pressure and high expectation of his parents that he has to choose to work
Troy doesn’t want to admit it to Bono that he is cheating because in the beginning he is denying it. He says he is just being friendly with the other woman, Alberta, and that he is like that with all the women. Eventually he gives in and admits that what he is doing is wrong and he wants to fix it but doesn’t know how. This shows that even though he has been through so much in life, he is morally aware of his doings and knows that he is in the wrong. This characteristic shows that he wants to be a better man than his father was.
In this type of narratives, women are represented as subjects, capable of relating their own story. However, despite the increased room for the subjective representations of consciousness, the maternal perspective is still silenced under the weight of the daughter 's emerging subjectivity. In Oranges, the mother herself renounces to her power to speak. When she starts suspecting that her daughter’s lesbian tendencies, and thus the girl’s deviance from the heterosexual norm, may be due to the power they were given inside their religious community, she decides to step back, affirming that ‘the message belonged to men’.
The poem, additionally, defining a mother’s perpetual love for her child: “Yet being my own, at length affection would / Thy blemishes amend” (ll. 11-12). This poem, nevertheless, does not play on women’s inferiority as “The Prologue” does, instead, it: “conveys the anxiety of Puritan women who feared (not only an abnormal childbirth, but also) the public castigation of her motivation and influences” (Day-Lindsey, 68). Choosing no culprit to lay blame on for the flaws in her poetry, instead, Day-Lindsey claims “The Author to Her Book”: “is filled with a degree of shame, guilt, and fear of repercussions” (68). There is a real dissimilarity in tone from “The Prologue”, in this instance; Bradstreet does not turn to sarcasm, irony or defiance.
Antigone understands what she is fighting for, and begins to tell her Nanny. She says, “ Save your tears, Nanny, save them, Nanny dear; you may still need them. When you cry like that, I become a little girl again; and I mustn 't be a little girl today.” (Anouilh, 21). Through the use of simile, Anouilh wants to audience to understand that Antigone does not want to feel like a little girl, as she needs a mature and adult courage from her Nanny for what she knows she is going to face – death. She ultimately cannot stop herself from what she knows the oppressive government will do to
“Again, as if her mother’s agonized gesture were meant only to make sport for her, did little Pearl look into her eyes, and smile!” (p 82). Pearl herself being the product of sin, is a constant reminder to her mother that the scarlet letter cannot be neglected. Hawthorne shows this symbolism various times throughout the story. In Chapter two, during the first scaffold scene when Hester tries to hide away her scarlet letter with Pearl, Hawthorne indicates how useless that would be, considering that Pearl is the personification of her sin. “In a moment, however, wisely judging that one token of her shame would but poorly serve to hide another…” (p 45).
During act III, Nora asked to speak to Torvald after her performance of the tarantella dance. The following conversation demonstrated her quest for autonomy and freedom, as well as Torvald’s inadequate responses to her arguments and demands; it also showed how deeply connected her unhappy situation is with society’s regulation of the relationship between the sexes. She asserts that she is “...first and foremost a human being”, and her strong conviction that her womanhood, and the expectations associated with it, are secondary, strengthens her resolve to make a radical choice: A break with both husband and, with necessity due to her legal position, her children (Ibsen, 184). During her conversation with Torvald, she proclaims, “I have other sacred duties...The duties to myself (Ibsen, 184).” Her existential choice seems to be forced upon her by society, but in adopting her husband‘s and society’s language, so often used to contain in control women, she now speaks of her duties towards herself, even sacred ones. In a radical refusal to stick to inherited notions of women’s role in family and society, Nora rejects the other identities available to her, both as a doll and as self-sacrificing wife and mother, and of her husband’s pet names for
“You are free to make whatever choice you want, but you are not free from the consequences of the choice.”-Ezra Taft Benson. This quote by Benson relates to the novel Tangerine by Edward Bloor. The characters in the novel don’t make good life choices and in the end, they pay for the mistake. Paul Fisher’s parents make bad decisions with treating their two sons. In the story, their choices affect Paul by causing him to have low self esteem, fearing his brother and feeling isolated.
She only can do this after she feels she has gotten rid of her female attributes. This can be attributed to the constraints of society at this time. Also, it can be attributed to the way that she feels about being not fearless enough to kill. She says, “Come, you spirits / That tend on mortal thoughts, unsex me here, / And fill me from the crown to the toe top-full / Of direst cruelty” (1.5.47-50). Lady Macbeth is calling to the spirits to assist her murderous ideations and to do that make her less of a women and more like man which will then fill her with deadly cruelty.
This is actually the plight of Baram Alkali’s case in Personal Angle. According to her, a woman may react by self-pity and tears followed by a hardness to love as is Zaria’s reaction, sentimental, passive almost bordering on martyrdom. A wife may immerse herself in the hurt and pain of unrequited and neglected love leading to psychosis as is the case with Zaria. She demonstrates her guts and feminine will power to make a break of it and claim back her name and identity. Even after her separation from her husband, Alhaji Teller lusts hopelessly after her but she refuses to give in preferring to maintain her dignity.
According to Brent, “The painful and humiliating memory will haunt me to my dying day” Brent, A Perilous Passage in The Slave Girl’s Life). She regrets going against God’s words, but had to give away her purity in hopes of freedom. In reference to Welter, “Woman must preserve her virtue until marriage and marriage was necessary for her happiness. Yet marriage was, literally, an end to innocence” (Welter, 158). Not being able to live up to what the North had in mind for white womanhood, meant that she was deemed unworthy of happiness just for the fact she tried to free herself by giving up her virtue.
Restricted in movement and stripped of her opinion by her husband, the narrator forms an obsession with the obscure background pattern that “skulks behind that silly and conspicuous front design” (80) on the wallpaper. As the dim shapes become more distinct, she ultimately deciphers the true figure to be a woman. This is a metaphor for the realization of her mental and physical entrapment as she proceeds into a state of insanity. The intensive need for helping the woman escape reflects the need for her own liberation. As the woman quickly flees upon her release, the narrator refuses to follow as she is so unaccustomed to the “green instead of yellow” (89).
What society defined as “acceptable” at the time one character succumbed to the pressures and the other woman was resilient and overcame the pressure. In The Awakening, Edna, is repressed by her husband, as is Janie in Their Eyes Were Watching God. Edna and Jaine are both self aware women; their inner selves question what their outer self
His reluctance to lead and his weak determination to fulfill his role as the guide of the Israelites to the Promised Land make him unworthy leader. He does not have a resolution of his own and he greatly relies on God for instructions. This in itself can be an indicator of Moses’s bad leadership because without God’s guidance, Moses is unable to properly lead his people. Moses relies greatly on God’s words, feeling lost without them. There are many instances throughout Moses’s journey towards the Promised Land where he asks God for instructions on how to lead his people.