Liesel and her family are on their way to Molching when Liesel’s younger brother Werner dies on the train ride there. Liesel is given up by her mother, and is sent to live with Hans and Rosa Hubermann in a small town inside of Molching. The similarities between the two books is the common display of morality and ethics, and the similarity between the two characters, Liesel Meminger and Scout Finch. The difference is the types of social injustices that are taking place in both books. The first similarity between two books is the display of morality and ethics.
Throughout the Novel, in Fahrenheit 451 Montags encounters with the parlor walls develops the idea of ignorance is bliss. Montag interacts with the ideas of the parlor walls first hand with his wife Mildred. Mildred is undoubtedly enarmed by the parlor walls.”Will you turn the parlor off?...That 's my family...Will you turn it off for a sick man?..I 'll turn it down”(pg52). She cares more about the parlor walls then the well being of her own husband prioritizing the parlor walls over him. As do the parlor walls seem near essential for her happiness.
Neither Ethan nor Mattie, the ones actually enacting the transgression, were the ones to break the dish. It was the cat, by-proxy Zeena, who broke the dish; she, it, saw that her marriage to Ethan may as well be over. The broken pickle dish symbolizes both Ethan and Zeena’s broken marriage and their broken trust. Their relationship will never be the same again, and Zeena now has physical confirmation of the feeling she's had for years: Ethan has moved on from here. However, Zeena hasn't done much to keep him
“Orual even shows a perverted, possessive love in her relationship with Bardia” (Saunders 6). She never considers how the stress she puts on him wears his life away; she only cares about spending time with him for her own enjoyment. She withholds him from going home to Ansit while dreaming about scenarios where she herself is his wife. This again goes back to the idea of Orual’s intense jealousy and possessiveness. However, these fantasies and dreams that she entertains herself with serve to prove how Orual cares about Bardia.
On her first visit to Sir Gawain’s bedroom the queen seems to hold nothing back while trying to persuade him to have a tryst. Although Sir Gawain asks her to allow him to dress before they continue their conversation she refuses and lets him know that she has more in mind than a lively discussion with him. She says to Sir Gawain “we are all by ourselves my husband and his huntsmen far hence ridden…To my body will you welcome be of delight to take your fill” (Tolkien 70). Despite this and other strongly worded propositions from the queen Sir Gawain finds a way to dissuade her and does it without insulting her or disrespecting his host. The second time the queen visits Sir Gawain he resists her despite how aggressively she offers herself to Sir Gawain.
While Daisy is able to move on, Gatsby’s becomes even more passionate, and this quickly grows into an obsession. Despite how Gatsby may feel about Daisy, it is clear that he is never in love with her as a person; he loves the idea of her, the way she makes him feel: important, worthwhile, even valuable. Jordan reveals to Nick, “Gatsby bought that house so that Daisy would be right across the bay” (Fitzgerald 68). Gatsby’s obsession with Daisy forces him into social isolation. The extravagant house parties that Gatsby throws are for the sole purpose of attracting Daisy’s attention, but since she never attends them, he has no reason to take part in the festivities; his guests barely know a thing about him and base their judgement off of rumours.
She allows her husband and sister-in-law, Richard and Winifred Griffen, to abuse both Laura and herself with their condescending words due to the sisters’ dependency on the Griffen’s finances. Despite her inheritance upon her father’s death, “[Iris] was still a minor, and was Richard’s wife. The laws were different then. What was [hers] was his.” Though progressively discontent with marriage to Richard, “he kept up appearances” and so, Iris followed suit. “[They] attended cocktail parties and dinners, [they] made entrances and exits together,” maintaining the image of the wealthy businessman and his young, blushing wife.
Issac does not end his courtship of Rebecca instead he weds her. A while after the wedding Rebecca takes to drinking and this may be caused by Issac's decision to not trust his wife. Collins describes Rebbecca before the wedding as " kindness itself with him. She never made him feel his inferior capacities and inferior manners.
Klamm is stout, fat with a paunch, a middle-aged man behind a desk, a stereotypical government employee. Klamm is the symbolism of authority in this novel. Frieda is his mistress whom K. steals away from him. • Olga and Amalia Olga and Amalia are the sisters of Barnabas. Olga helps K. meet Frieda at the Inn and also tells him about the ordeals her family is facing.
In the film specifically, it is revealed to the audience why Cinderella’s stepfamily does not like her: they “had known grief, but…[they] wore it wonderfully well”. They all had been affected by the death of their father and husband, who was likely the head of the house. Resultingly, the stepmother and her biological children grew much closer to each other, and they looked out for one another—lashing out in unison at those they felt challenged their familial relations as they were. This archetype also contributes to the weakness Cinderella’s biological family faced in the Grimm Brothers and film versions of the story. In the beginning, the family was closely connected; however, the death of the mother in both versions greatly weakened the familial ties felt as a group of three people.