Once Apollo attempts to halt their punishment of Orestes, they proclaim their right to do so, ordering him not to “try to talk [them] out of [their] ancient privilege.” (III.181). This talk of old powers and privileges continues on throughout the play, appealing to the credibility of their character. The goddesses later question whether Orestes can be guiltless when Apollo himself, the one who ordered the murder of Clytemnestra, was “still dripping with blood” (III. 155). When their hypocrisy in torturing only Orestes is objected to, as his mother committed mariticide and was not hounded, they defend themselves, arguing “[i]t [was] not kindred blood,” and thus it “[did] not count” (III.165).
It is significant that Antigone immediately states she “will bury [Polyneices]; and if [she] must die…the crime is holy” upon hearing Creon’s ruling because Antigone validates that she isn’t committing this crime for attention or proving a point to the law, but because it is what she believes to be right and moral (60). Antigone later responds to Creon, stating that his ruling is “not Zeus’ proclamation” therefore she would never “transgress the laws of heaven” because of a statement Creon decreed (450). Antigone refuses to abide by political rule and her action serves as a means of justice not only to her brother, but also as an act to uphold the divine law. The reiteration of ancient ideals through the hierarchy of law is emphasized by Antigone’s self-condemning act, asserting that the political law is not what controls her actions, but the divine law she believes is morally correct. The result of Antigone’s act of disobedience is concluded by the Chorus, stating the universal attitude of all ancient Greeks—that there is “no wisdom but in submission to the gods,” affirming that no human is superior to another (1350).
The Misfit is certain that he does not follow Jesus Christ and his morals while the grandmother is uncertain of her morals. She transitions from believing in Jesus’s beliefs to denying them, finally concluding that he didn’t raise the dead. At the end of the story, The Misfit indirectly references her lack of morals. “‘She would have been a good woman’ The Misfit said, if it had been somebody there to shoot her every minute of her life (O’Connor 245).” He believes that the grandmother longs to have morals. Nevertheless, she does not realize her lack of personal intersection until meeting The Misfit.
Lucy is the most rebellious out of the three, as even her name – the female version of Lucifer, the fallen angel – suggests. She rejects her mother’s attempt to make her the ideal daughter who is ethical, submissive and decent. She claims that she rather be dead than become the echo of her mother, as the fact that she is identical to her mother scares her. Lucy states: “I did not want to be like my mother…. ‘You can run away, but you cannot escape the fact that I am your mother…’” (Kincaid 95).
She tries to control what she can, for example, instead of letting her sister join her in the execution, Antigone declines her and sends her off. Antigone’s most important trait is also the fatal flaw that leads to her own demise. Antigone is so loyal ad determined to bury her brother that she would go against the word of the king to do so. It is because of this determination that she antagonizes Creon into sentencing her to death. Sophocles not only portrays Antigone as a tragic hero, but also as a martyr.
“Talk not to me, for I’ll not speak a word: Do as thou wilt, for I have done with thee” – Lady Capulet (Act 3, Scene 5, Lines 129-130). Lady Capulet was an irresponsible mother who turned her back on her daughter when Juliet needed her the most. It seems very likely that Lady Capulet’s wedding was arranged by her family too and when Juliet rebels against this, she is against the kind of marriage her mother had. Lady Capulet is obedient to Juliet’s father and urges obedience from Juliet. Lord and Lady Capulet, although not directly killing Romeo and Juliet, prompted it from the
This is why it made it so hard for Antigone’s sister, Ismene, to watch her sister follow through with her plan on burying her exiled brother. Ismene is affected by the Greek Ideology. This ideology is “dominant pattern of ideas… certain orthodox ideas are encouraged, financed, and pushed forward by the most powerful mechanisms of Harry 2 our culture. These ideas are preferred because they are safe, they don’t threaten established wealth or power” (Invention 109). Ismene believes a woman shouldn’t fight authority, especially if death is the penalty.
Daisy wants to stay with Tom because he has the status and money that she wants so much. If she left him, she’d be losing those assets. However, since George doesn’t have these assets, he has no incentive for Myrtle to stay with him, so he has to remove her from the affair by force. Plus, the law is clearly still applicable to those of lower status, as it’s present when Myrtle is killed, We know that Myrtle is killed by Gatsby’s car, but there is no follow through from the law apparent. In fact, some of the only consequences in the book is George's act of renegade
The new name signifies the birth of a new identity, and to eradicate the connections of the past for future women. Offred’s thoughts relieves a glimmer of anguish by drawing connections of her liberal past to remember humanity and remain sane. Indeed, Atwood exemplifies humans taking for granted basic rights as latently important. Although conscious of the implications Offred passively accepts her new name. The naivety of the Handmaids makes Gilead dangerous, as their tyranny has no bounds.
Elizabeth was the main character that the author represented its main idea through her. Elizabeth is independent and insubordinate standing against society’s social norms of marriage. Unlike Lydia, her youngest sister, Elizabeth fights the social norms by believing in herself and in her feelings of marriage and love. Mr. Collins proposal to Elizabeth was countered by this “You could not make me happy, and I am convinced that I am the last woman in the world who would make you so” (Austen 104). When Elizabeth rejected Mr. Collins she did not just refuse him as a husband, she as well refused to be financially secured in her society.