Aside from love, Treplev also seeks approval from his mother hence gets angry and upset when Arkadina snobbishly mocks his work. Right after Arkadina mocks Treplev’s stage affects he flares up and loudly says’ “The play is over! That’s enough! Curtain!” and takes off shortly (Chekov, 116) On the other hand the nineteen-year-old Nina is Sorin’s neighbor. Nina is portrayed as a naive romantic who aspires for a career on the stage.
These two evil sisters disobey their father in everything, and put on a face when he asks who loves him the most because they are simply greedy and want his land for themselves. “I am made of the self-same metal that my sister, and prize me at her worth. In my true heart I find she names my very deed of love; Only she comes too short, that I profess myself an enemy to all other joys which the most precious square of sense possesses, and find I am alone felicitate in your dear Highness' love” (Shakespeare). Here, Regan explains her true love for her father as opposed to the half-hearted love that Goneril has for him. As the two sisters fight over who loves their father more, they demonstrate to the audience that they are selfish and manipulative.
The Emalia-Desdemona relationship is an interesting and complicated one. At first glance, it might seem that Emalia serves as the jaded foil to Desdemona’s innocent naivety about love. However, a closer, sympathetic look at Emalia shows she has plenty of reasons to be as hardened as she has become. The role of Iago’s wife can’t be an easy one, and he is usually too concerned with revenge to pay much attention to her. He’s arguably one of the cruelest Shakespearean villains, and Emalia is just trying to survive unscathed.
Masha marries him in order to divert her love and affection from Konstantin, who, she is convinced will not reciprocate to her love, which happens later in the play too. Even though she is the victim in terms of love, she still has the power to control Medvedenko, and in Act IV, ends up miserable and lonely. Masha disrespects him and he is eventually left alone with their child. In a way, a major parallel can be drawn between, Masha and her mother Polina, who married Shamraev but is in love with Dorn, whose romantic advances are upfront and out in the open. Chekhov, in this play establishes women as much more liberal and powerful than the actual state of his
The reader can see the feminist lens in Gertrude through her love for her son and when she is always being overlooked by the men in her life. An excellent example of one such instance is when Hamlet confronts Gertrude in her closet. Gertrude can be seen confronting Hamlet about his rude nature towards King Claudius, Gertrudes second husband and Hamlet 's Uncle, but Hamlet ignores Gertrude and turns it around on
Her undying love for Ashley One of the films most recurring themes is the undying love Scarlett has for another protagonist Ashley Wilkes. Her first disappointment in her otherwise trouble-free life is when she hears that Ashley is going to marry his cousin Melanie Hamilton, a person that Scarlett despises. She gets him alone and confesses her love for him, and Ashley actually feels the same way but he knows that they do not fit together. He says to her “You have all the passion for life that I lack. But that kind of love isn 't enough to make a successful marriage for two people who are as different as we are.” And so he marries
Nora the female protagonist in Ibsen’s A Doll’s House struggle is struggling with many different issues, which mitigates her action throughout the play. From the analysis of her relationship with other characters, Nora is in a form of captivity because she feels answerable to other characters. For instance, she Nora is in a sort of emotional captivity because she feels like getting married to Torvard was out of duty to please her father. She exclaims to Torvald, “ I mean, then I went from Papa’s hands into yours… it’s a great sin what you and Papa did to me” (Ibsen 109). Nora has a choice either to remain married and fufill the will of the father or leave her husband.
Miss Havisham pushed Pip towards Estella to fulfill the passion she had once knew as her own. She lacked the opportunity of truly being in a successful romantic relationship, due to her husband leaving her at the altar. Havisham wanted Pip to lean towards Estella, but she was truly just the puppet master of Pip’s heart. “... Not the “fairy godmother” Pip thinks she is” Pip considers Miss Havisham as this adopted mother, who guides Pip to learn to care for others while she is just preparing him for heartbreak (Bloom 156). Havisham continues to push Pip to want Estella, while puppeteering Estella to become this cold-hearted soul who is unable to love anyone.
First two were mentioned before - Cordelia's sisters, Regan and Goneril, who could say whatever their father required, could lie how much they love him, just to recieve promised money. In a different Shakespearean work "Hamlet" we can find, in my opinion, the weakest female figure - Ophelia, who is torn between her Hamlet and her family - father and brother. Moreover Ophelia is a sweet and innocent young girl, the epitome of goodness and, unfortunately, she is also childlike and naive. Despite the fact that her love for Hamlet is really strong, she obeyed the fathers rules - not to see Hamlet again. Furthermore, to family she was only a woman whose purpose was to be dutiful wife and mother, to Hamle she was like a sexual object.
Aylmer’s potion doomed him by take away her breath. Aspiration for perfect wife not only kills Georgiana, it also spoils her husband because his longing to fabricate the ideal woman made him to overlook her true love and the beauty. Eventually, petty imperfection is all he could see when he romance with his wife. Georgian’s admirers are wise enough to understand that perfection is not a goal worth pursuing. Although these characters are invisible throughout the story they appreciate Georgina more than her husband does.