Great “Manipulation” Deception can present itself as a white shadow, pure and innocent while molding into the true evil within the darkness. In Great Expectations by Charles Dickens, women are viewed as deceitful and wicked individuals who are always seeking more whether wealth or a higher class level. Miss Havisham is the independent mother figure who is apart of this upper-class, living in the Satis House with her daughter Estella. Havisham mislead youth, due to her ambition and vindictiveness towards men, as way to satisfy the lack of attention and affection she had in her life while presenting the acts of individuals being inevitably wicked. Miss Havisham pushed Pip towards Estella to fulfill the passion she had once knew as her own.
However, while she was sleepwalking she never said she was sorry for what she did. So, she is still evil, because towards the end she started to state that there is no going back and that they are not safe anymore, she says “Nothing’s gained, all’s lost, when a wish fulfilled brings no contentment….What can’t be cured has to be endured. What’s done is done” (III, ii, 4-12). Lady Macbeth is still evil, no matter what she does. Lady Macbeth’s cruel and dark natures carried her through even though she wasn't happy.
Grendel’s Mother is not named yet her very existence is independent of the male social code. As a female monster that exists on the boundaries of the (male) civilised world she can cross the boundaries, into Heorot, just as her son could. Grendel’s Mother “rage in her grief” takes on the masculine role of vengeance and uses violence, not words of diplomacy, in seeking revenge. She even has her own private space, a mere with “blood on the water” with “serpents and wild beasts”, within. This is a feminine and bloody space that speaks of the mysteries of the female body, the monsters: the fear men have of what lurks within.
In Frankenstein, the reader spots the danger when Victor destroys the female monster where the monster proclaims “Slave, I before reasoned with you, but you have proved yourself unworthy of my condescension. Remember that I have power; you believe yourself miserable, but I can make you so wretched that the light of day will be hateful to you. You are my creator, but I am your master; -- obey!”(Shelley 157). The reader sees the obvious tension between Victor and the monster due to both of their lacks of responsibility for each other and themselves and can relate it to the United States and their global affairs with countries like North Korea where the countries leaders have resulted to name calling like “rocketman” and “mad man”(Stevens). Throughout Frankenstein the reader saw Shelley’s theme of the dangers in not taking responsibility like pain, death, the suffering of others, and now the reader finds out how one of the dangers is the risk of composing deadly
No, I cannot, I cannot stop my mouth; It’s God’s work I do” (875). That is until Mary caves under the pressure and accuses John Proctor of being the Devil 's man, so nothing bad occurs due to Abigail. In addition, Abigail tells lies, manipulates her friends and the entire town, and eventually sends nineteen innocent people to their deaths. Throughout all of the hysteria, Abigail’s motivations are based off of a simple jealousy and a desire to have revenge on Elizabeth Proctor. There are a few background
When Pythia first finds the furies, she describes them as a “hideous sight, much like Gorgons, but worse” (The Furies, 48-49). Their unforgiving appearance automatically annihilates any sense of sympathy for their case, setting Clytemnestra up for failure. Apollo also chimes in to describe the furies as untouched and repulsive virgins, claiming that no human or creature would dare touch them (64-74). While the furies’ ugly looks make them less reliable to humans and gods, it also represents the idea that Clytemnestra could only birth disgusting creatures after she murdered Agamemnon. Through their revolting appearance, the furies develop relationships with the other characters which represent the worldview of Clytemnestra after her death.
“Grendel’s mother, monstrous hell-bride, brooded on her wrongs. She had been forced down into fearful waters, the cold depths…” (pg 34) She cannot be defined by the role as a hostess. She would attack any person or creature who would dare enter her cave. In describing Grendel’s mother in comparison to the other women portrayed is true to the fact that “she has the form of a woman” (pg 155) but is “monstrous hell-bride” (pg 34). Her behavior is unnatural and unlike “female ‘peacemakers’ do not wage war…her unnatural behavior seems more
The women are also answerable for some of the acts that they have not committed. In the novel, the woman is accountable for the man's mistakes and misdoings. The men have objectified the women, and have made the women dependent on them. Robert Walton uses women to find out the answers to his curiosity; Victor Frankenstein takes himself as a God and above all while the monster makes the women his victims by killing them for his personal selfish gains. Another feminist perspective is the idea that the contribution of the women in the society does not count.
As stated in the text, “Rikki Tikki knew better than to waste time staring… just under him whizzed by the head of Nagaina, Nag’s wicked wife” (para 29). First, this evidence proves that Nagaina is evil because everyone in the garden is afraid of her and call her evil which makes her one of the villains of the story. Secondly, Rikki Tikki is not evil because he is known as the hero of the story while Nagaina is known as the opposite which is the villain. Also, Nagaina being evil proves that she was villainous which put her eggs and Nag at risk. Furthermore, Nagaina says, “You warned Rikki-tikki when I would have killed him.
Emilia is explaining to Othello, Iago is lying and manipulating Othello. and says that Desdemona was far too in love with Othello to ever do such a thing. Marjorie Pryse Doctor of American Literature and Feminist Theory, has an impetration of both Desdemona and Emilia’s deaths. She is suggesting that you aren’t something unless you say it or admit to it. Which is why Desdemona could never bare to “confess” to Othello that she was a “whore”, Desdemona never actually did anything wrong.