Anouilh introduces Antigone as a serious and businesslike kind of woman. In the beginning of the play, the Chorus states, “From the moment the curtain went up, she began to feel that inhuman forces were whirling her out of this world.” (Anouilh, 14). Through the use of hyperbole, the Chorus is able to show to the audience that Antigone can feel and understand that the forces are telling her to die young and leave this world. Although she feels this, Antigone is still able to move forward because she knows it is her fate and it does not stop her from preventing injustice. Apart from her fate, Antigone explores the ethical dilemma of law and injustice.
Offred 's character development can show that her actions change . Over the course of the novel offred goes from an obedient handmaid to a careless, desperate rule breaker. In chapter 11 when a visit to the doctor finds offred faced with a decision to have a baby with the doctor or not she declares, “it is too dangerous… No. I can’t” ( Atwood 61). In this situation, Offred 's decision to not break the rules shows how scared she is of the consequences and how obedient the regime has made her.
It is just so important that you don’t leave this tower. EVER! I, I mean, I just want to protect my little girl.” Mother Gothel stopped herself before Rapunzel got weary of why Mother was being oddly protective of her. “But Mother, I would love to feel the dewy grass on my feet and to run as fast as I can for as far as I can; to see the nature in real life, not just paintings...” Rapunzel explained while sadly looking up to the portrait-covered walls that have run out of open painting space for Rapunzel. “...and I know you’ve told me not to, but I just really really want to cut my ha-” “Don’t you ever!” Mother said, greedily interrupting Rapunzel.
/ Is Romeo slaughtered and is Tybalt dead?”(3.2.70-71). This quote at the middle of the story shows that Juliet tells her family and the nurse what they want to hear from her, meaning Juliet doesn’t have her own opinion, so her family takes this as an advantage so they could persuade Juliet that the Montagues are evil people. So, Juliet expresses that she’s angry about Tybalt’s death, and wants to avenge her family member (Tybalt). In relation to this, this expresses that she’s loyal to her family’s interests and doesn’t have her own opinion based on her experiences. Towards the end of the story, when Juliet asks Friar Lawrence for assistance concerning the marriage, Friar Lawrence expressed to Juliet, “O Juliet, I already know
Edna then looks back at her feelings towards the birth of her children. She merely saw them as an addition to “the great unnumbered multitude of souls that come and go” and reveals her nonmarital nature. Then, Madame Ratignolle tells Edna to “Think of the children Edna... remember them.” These words ring in Edna’s head and played the role as a wake up call. Edna has previously planned on abandoning her moral values, but these words made her realize the effect her actions of adultery may have on her children. This is the first example of Edna’s alienation and how society’s assumptions of her, which were brought to her attention by Madame Ratignolle, should play a larger role in her
There is no desperation in her actions, only a controlled, deliberate, execution of a well thought-out plan to free herself from a meaningless existence. Moreover, the image of loss is heightened by the mother-daughter relationship in “night, Mother” as Thelma fights to preserve Jessie’s life and Jessie struggles to control her own fate. Ironically, this struggle results in a connection between mother and daughter that was never possible until this moment. The helplessness Thelma feels in attempting to prevent Jessie’s suicide and the revelation of the deep psychological loss felt by Jessie are the driving forces of this play. Consequently, Jessie decides to exercise complete control of the last few hours of her life as she has made a “choice” to end it.
Lola takes advantage of her deteriorating mother whose illness represents the declining hold of the norms over Lola. Since her mom “will have trouble lifting her arms over her head for the rest of her life,” Lola is no longer afraid of the “hitting” and grabbing “by the throat” (415,419). As a child of a “Old World Dominican Mother” Lola must be surrounded by traditional values and beliefs that she does not want to claim, so “as soon as she became sick” Lola says, “I saw my chance and I’m not going to pretend or apologize; I saw my chance and I eventually took it” (416). When taking the opportunity to distinguish herself from the typical “Dominican daughter” or ‘Dominican slave,” she takes a cultural norm like long hair and decides to impulsively change it (416). Lola enjoyed the “feeling in [her] blood, the rattle” that she got when she told Karen to “cut my hair” (418).
When the girl starts challenging the maternal principles by disclosing her lesbian tendencies, the mother decides to adopt extremes remedial measures, thus turning into the archetypal character of the witch. While this strategy allows her to control her daughter’s behaviour, it destroys the reciprocal trust that links the two female characters. The mother is so determined not to give up on her plans for Jeanette’s future that she decides to turn the whole religious community against the girl, and to physically punish her through starvation and exhausting exorcisms in order to save her daughter’s soul and her own dreams. At this point, the mother seems to be willing to distinguish between Jeanette ‘the Wilful Sinner’, who rejected her teachings and betrayed her publicly, and Jeanette ‘the Perfect Missionary’, the holy instrument she created for the Lord. The maternal aggressive attitude profoundly affects the girl’s trust in the maternal figure.
But Nancy made a decision to leave the relationship despite her parent’s pressure. Everyone from her parents to her siblings to her uncles and aunty, felt she made the wrong decision. But she never cared about they opinion. Nancy made her decision based on her happiness and been tired of her parents controlling her. Just has the song says “Don't let them control your life, that's just how I feel” (nico and vinz, paragraph 3).
In “Marks”, Linda Pastan discusses the life of a woman who is constantly being judged on her actions as a wife and mother. It further attempts to detail her frustrations on the grades which her own family members give to her based on her performance. It is clear that they concern themselves more on how well she performed her roles rather than just being grateful that she did it for them, thus making the speaker feel rather unappreciated. Pastan used the metaphor of grades, along with tone, to effectively convey this sentiment. Through the idea of “dropping out” (line 12), the poem suggests that women should try to break free of the system and defy the traditional gender roles that it has placed upon them.