Her conflict began when her father betroths her to a rich suitor (Grimm & Grimm, 1812b). She is portrayed to be cautious and suspicious of her betrothed and as we can see later in the tale, rightly so. “But the girl didn’t care for him as a girl should care for her betrothed, and she didn’t trust him. Whenever she looked at him or thought of him, her heart filled with dread” (Grimm & Grimm, 1812b, p.151). The characteristics associated with this bride are helpful for identifying her as the hero of the story, her caution and canniness led to the punishment of the villainous robber.
In the dramas, A Doll House by Henrik Ibsen and Death of a Salesman by Arthur Miller, protagonists, Nora, and Willy portray thematic concerns as they both fail to understand the reality and hoax themselves in others into believing false actions and statements in their lives. In A Doll House by Henrik Ibsen, the protagonist Nora pretends to be the “perfect” housewife to herself, her husband, friends, and family, although when in reality she is not and is preventing lies from being revealed to her husband. A similar theme is also portrayed in Arthur Miller’s, Death of a Salesman with the protagonist Willy, a sixty-three year old salesman who deludes himself into thinking he is successful salesman and attempts to deceive his family and friends into believing he is a successful salesman too. Both protagonists, feel as they need to conceal their true lives in order to properly fulfill and succeed in the gender roles of a family household. In A Doll House by Henrik
Snow White had to be saved from biting into the poisoned apple and would only be saved through a kiss from a prince. Aurora also had to be kissed by her prince to be saved from a curse. Cinderella waited for someone to save her from being a slave in her evil stepmother’s house. These princesses convey the message that women mostly do domestic
Janie, at first, doubts Tea Cake loves her because of her age and then, on account of her fortune, fears he may have married her only to run off with her money. However, Tea Cake proves through and through that he loves Janie for Janie and treats her with love accordingly. Though Janie and Tea Cake’s marriage is not perfect, (such as when he beats her to show Mrs. Turner and her brother that he is in possession of Janie) she has found the “bee for her bloom” in Tea Cake. Willingly, unlike with Killicks who would have forced her, Janie works with her husband in the fields when she and Tea Cake make a home in the Everglades (184–185). When jealousies arise through the flirtation of Nunkie, a girl who takes a liking to Tea Cake, Janie and Tea Cake fight but talk through and express their feelings over the flirtation to one another until each gives in and they become united once more (188–191).
According to Panttaja, there is no evidence to suggest that the prince loved Cinderella or that she loved him. In the story, Cinderella is described as deformed, and with the magic of Cinderella 's mother, the clothes that Cinderella attends the ball in are magical and therefore cause the prince to see a beautiful woman. The personal qualities of Cinderella are most important and those are her looks, because before her mother 's magic, she was seen as deformed and not beautiful; so without the mother 's help, the prince would not have been interested in Cinderella. 6. The purpose of disguise or enchantment in fairy tales is so someone can enter into a marriage that they wouldn 't normally enter into, usually with someone who is included in a different social class.
This shows how free will affected Pandora in a negative way to the plot. In Pyche and Eros a large part of the story was based on free will. Psyche was convinced by her sisters to check if her fate to marry a terrible monster has come true. So she snuck into her husbands room "and when her husband has fallen into his deep sleep, she went silently to his bedside and held the light above him." She happily found out he was not a monster but she mistakenly "Leaned over, accedenltly tipping the candle."
Women in the nineteenth and twentieth century were not treated equally to men; Henrik Ibsen demonstrated this in his play A Doll's House. Throughout the play the protagonist, Nora Helmer, faces disrespect and mistreatment by her husband, Torvald. Nora Helmer is shown as a woman who has manipulated people and lied on countless occasions, but she is a woman who behaves in such a way because she is trapped in her marriage, until she finally escapes and stands as a hero to women of the century. In the first moments of the play Nora is introduced as child-like women who is a seen as a manipulator and liar, but this is only the surface of her character. In deeper look into Nora’s character her manipulative and lying ways were for better outcomes
She was replaced by an enlightened, determined and more useful member of society who tries to make a positive contribution to help her husband in his difficulty. These days modern life has thrown countless examples of women struggling for their identities and thus emerging in the same way as Nora did. Ibsen though in his own ways, is probably the playwright to bring this change noticeable in their respective plays. Ibsen showed a woman who left her husband simply on the grounds that he had treated her as a doll and not as a responsible human being. Nora is depicted until the end of the play as the helpless, mindless fool who wastes her husband’s hard earned money.
Good authors create interesting characters that evoke some emotion from their readers. That is the case of the protagonist, Mathilde Loisel, in Guy de Maupassant’ story “The Necklace.” Mathilde comes across as selfish and unsatisfied person and is easy to dislike. She first shows the quality of selfishness by purchasing a dress with money which her husband “ had set aside just that amount to buy a rifle” (Maupassant 222). Mathilde was so worried about buying a dress she didn’t even think about her husband. She proves herself to be unsatisfied when she is allowed to pick out some jewelry from her wealthy friend, but she declines the jewelry and asks “‘ haven’t you something else?’”(Maupassant 225).
Nonetheless, the makeover films lessen the conflict of social class and women’s inequality in the original theatre version and stress magnificent scenes and costumes to attract audiences, which make Eliza lose herself and become a kind of Cinderella. First of all, Pygmalion and My Fair Lady (1964), and Cinderella’s have similar plots because Eliza and Cinderella have similar life experience. They have poor life situations and stay in the lower class in the society. Eliza is a street flower seller and a working-class. Eliza’s mother is dead and her father does not care about her.