This comical situation demolishes the morals that women claimed to have in their relationships and expressed that as shallow, clueless, and untrue to their word. In addition, making the girls so stuck on the name of a person highlighted the illogical impression that religious purposes were the only reason women chose to marry a certain man and depicted it as rather foolish. Sarcasm is the primary technique used here as Wilde jokes on the “morals” of women during that period. Once again, Wilde doesn’t provide any solution to his opinion on women or the standards of religious purposes. Instead, he exposes the flaws and leaves the audience to question the
The play undoubtedly showed that she was helpless in defending herself and is instead, safeguarded through the exposure of her situation. Susan Glaspell’s Trifles tells the audience that women should not be regarded as lesser individuals – less intelligent or less able. Further, that if women are being silenced and deprived, it will lead to revolution, revolt and revenge. Throughout the Trifles play, dominance of men is obvious. While women were recognized with modest voices compared to louder men.
Additionally, he focuses on the inferiority of women, who cannot openly exert their power. Most damningly, Steinbeck frequently considers that women are more easily susceptible to temptation, and cannot restrain themselves once tempted. These intentions of limiting women are subtle in his writing and project Steinbeck’s own bias against
The play “Trifles” by Susan Glaspell is largely based on stereotypes. The most prevalent one explores the difference between gender roles. Glaspell exerts the repression of women in the 1900s. During that time, women were highly looked down upon by men, and were only seen as the housekeepers and child bearers. This example is displayed throughout the play with the men, however, the women in this play prove that the stereotypes of gender roles held against them are completely wrong, which is shown through the characters, set design, and symbolism.
Through the novel, we can see how Gilead negatively affects the psychology and mentality of the handmaids that makes them to give up to the system and brain washes them. One example is Janine. She is rejecting her victimization and ignorant of her own victimization, Janine looks revolting, pathetic, and distressed. For example, Offered describes Janine as pitiful since she tries to fulfill Gilead’s roles. She describes her how she throws herself into the testifying and feels arrogance in describing her rape story and abortion; subsequently, feels guilty when she had done nothing wrong.
Scott Fitzgerald reinforces the oppression of women through his menial depiction of women. Fitzgerald uses his character, Daisy Buchanan, to represent the selfish and shallow perspectives on upper-class women during his era. He contrasts this image of wealthy society by using Myrtle Wilson, a needy mistress, to manifest the greed existent within the women at the bottom of the social hierarchy. Jordan Baker embodies a highly modernized and independent female during the time, yet she is constantly treated unequal to men. Fitzgerald creates females that are subjected to constant inferiority in his novel, rather than giving them more original characteristics.
Chaucer also uses satire in a more comical way to illustrate how women can’t keep a secret. The Wife of Bath reveals this trait when she says “by heaven, we women can’t conceal a thing” (Chaucer 341), mocking the suggestion that women have an inability to keep a secret. Chaucer also makes fun of the knight’s condition using the irony of women being incapable of keeping a secret as the only thing that can save him. Mocking women and their incapability to not share private information only further reveals Chaucer’s satire.
This shows that Brabantio believes that Desdemona will continue to be deceiving. He suggests that women have to earn their trust and that they do not deserve trust from their significant others. Women are consistently depicted as deceptive in Othello. For instance, when Cassio apologizes for kissing Emilia Iago’s wife, Iago starts to rant about women and remarks, “Come on, Come on.
Lady Macbeth’s signs of guilt first surface in Act 3 Scene 2, where her sanity begins to deteriorate. Thinking out loud she says, “Nought’s had, all’s spent, where our desire is got without content.” All the trouble they went through to get what they wanted was a waste because it cost them their peace of mind. Fear and anxiety are taking over Lady Macbeth to the point of bringing out the humility from deep within her as she refers to her husband as “my lord.” Earlier she spoke at Macbeth and challenged his manliness. Thriving in confidence and power she saw him as nothing but a tool to get what she wants, but now that she’s seen a little blood and had a few nightmares, it has literally brought out the respect in her. She also asks him, “What’s to be done” which forces the audience to wonder where “mastermind Lady Macbeth” has gone!
“Claps her hands to her ears and crouches over” through the alliteration used Williams evokes harshness allowing the readers to visualize the scene of Blanche franticly trying to block out the light, whilst also leading the readers to believe that Blanche also fears light, connoting that she could be mentally unstable as she doesn’t dread darkness but instead she is afraid of light. Williams uses kinaesthetic imagery to lay more stress on how severe Blanche’s state of mind is. This is further supported when Blanche admits that she cannot stand a light brighter than candlelight, accentuating on how her fear for light has gone to the extent where she cannot face a bright light without remembering her late husband. This accentuates on how unstable Blanche is for one moment she hates the light and the next she fears it with all her life, this is further backed up with the actions she did