Macbeth is a play about subterfuge and trickery. Macbeth, his wife, and the three Weird Sisters are linked in their mutual refusal to come right out and say things directly. Instead, they rely on implications, riddles, and ambiguity to evade the truth. Macbeth’s ability to manipulate his language and his public image in order to hide his foul crimes makes him a very modern-seeming politician. However, his inability to see past the witches’ equivocations—even as he utilizes the practice himself—ultimately leads to his downfall.
A large theme within Bradbury’s writing is, people are dispensable. Mildred Montag, the protagonist’s wife, is a morbidly depressed woman who is one of the many victims at the heart of this truth. With not much of a connection to her husband, she turns to technology to help numb her. She is constantly listening to her “seashells,” our equivalent of earbuds, blocking out who and what is happening around her or engaging with the television instead of spending time with real people. When her and her friends meet, they sit in her parlor, in front of the technology, and socialize that way, which highlights another important theme.
This type of injury could be avoided if her mother would have just made her the food or at least supervised. Another instance of parental neglect in the memoir The Glass Castle is when Rose Mary pretended to be sick and it was up to the children to get their siblings ready for school. She blatantly refuses to cater to her own children’s basic needs. Lastly, Rex, the Walls’ father, brings a woman that is not his wife into the room and it is implied that he engages with intercourse with this woman. The issue with this is that his son, Brian, is right outside the room reading comics.
We can see the narrator’s weakness throughout the story. It is especially apparent in her narration where she uses phrases like, ‘John says’ which “heads a litany of "benevolent" prescriptions that keep the narrator infantilized, immobilized, and bored literally out of her mind” (Lasner 418). The significance of positions in society greatly influences the woman in this story. She withholds challenging anything her husband says, regardless of how miserable she feels rendering her weak. He makes her stay in a room that she does not like, refuses to let her visit relations, and prevents her from doing the thing she loves the most, which is writing.
Tom not only stays with his mother and sister well into adulthood but he also does not pursue a wife, a well paying job or a family of his own. Instead Tom dreams of a life that is more: a life filled with exploration, like the ones in the movies he adores. Throughout the play, Tom argues with his mother, drinks heavily and goes to the movies to forget about his problems. In this melancholy life filled with dissatisfaction he finds comfort in his sister who is shy, sweet and undeserving of the harshness life has thrown as her. In the third scene after he argues with his mother and accidentally knocks over Laura’s trinkets he regains his cool and “drops awkwardly to his knees to collect the fallen glass, glancing over at Laura as if he would speak but couldn’t”.
Valencia portrays the average housewife and the general unhappiness of married couples. Edgar Derby shows how wars bring out the worst in people, and Bertram Rumfoord is symbolic of the apatheticness of officials who hold power. They are indifferent to how the consequences of their actions affect helpless citizens, and do not view the masses as ‘human’. Vonnegut’s intent in adding these symbolic roles is to deepen the meaning of the novel and to further carry the message of the theme to the reader. Valencia, who epitomizes the average housewife, also represents the unexpressed discontentment of many married couples.
From the beginning Stanley has doubted Blanche, this is seen as he went through Blanche's things with Stella, questioning her belongings, “has she got this stuff out of teacher's pay?”(2.33). Stanley continues to impose his reality onto Blanche, which causes her more anxiety relying more and more on herself to create more of an illusion by creating an admirer for herself, saying that she ended it with Mitch because she does not deserve “deliberate cruelty”, and crating this alter ego for herself as being pure. While Stella is in the hospital, he and Blanche are left alone for the night as she continues bragging about her admiration coming from Sheep Hunt Leigh and how she just got a wire from him. Stanley catches her in her life, finally tearing apart Blanche's illusions. Although Stanley has been a threat to her through his suspicion and empowering masculinity over her, the last scene is where he finally takes final control over her, or symbolically where reality has a final triumph over her illusions.
Edna’s trying ways does not last long as for the narrator describes Edna the opposite of "women who idolized their children, worshiped their husbands, and esteemed it as holy privilege to efface themselves as individuals and grow wings as ministering angels. "(Chopin 10). Edna does not idolize her children, nor does she worship her husband. In chapter one, she leaves her son alone, sick in bed with a high fever...forgetting to check on him. She also has affairs on Leonce.
During Curley’s Wife’s first appearance she “was standing there looking in”, hinting that despite being Curley’s ‘lover’, she was still an outsider to everyone. Notwithstanding, she and Curley are incessantly searching for each other, thus she is lost within the vicious cycle of her marriage. This may indicate she is searching for an escape. Additionally, she has “her hair hung in rolled clusters, like sausages”, the contrast seems ironic since sausages are produced using leftovers. This shows that despite how passionate her efforts are, she will always be discarded as a mere ‘entity’-a substance that nobody values.
She didn’t like her sister Maggie she also doesn’t like her mom allot and she didn’t like their house. From the main changes Dee made was changing her name. “No mama, she says not Dee, wangero Leewanik kemanjo “(Walker, 318, 25). She also brought her friend with her his name is Hakim-a-barber. Dee was a selfish mean greedy girl, what she all cares about is herself and how she looks.