Hester is the exception to the rule, and perhaps the only character in the novel who lives by reality, rather than appearance. Throughout the novel, Hester encounters a barrage of disrespect and cruelty. Her own people shun her because she falls in love and bears her child a lover. From the first page of the novel, Hester is exiled and shunned, and is thrown into reality. Thus, unlike the characters around her, such as the sneaky minister or the greedy lovers, Hester is the one character who lives by reality instead of appearance.
She does what she is told, not questioning why, but accepting that that is the way that things are to be. Though gaining the approval of her father and others who believe in the patriarchal system, Ophelia makes herself extremely vulnerable by doing this. It’s almost as if she is begging someone to manipulate her, which is exactly what happens. “The king, queen, and Polonius continue their plan of uncovering the reason for Hamlet's madness by using Ophelia as a decoy” (Wright). In the end, by obeying her family
F. Scott Fitzgerald portrays the character of Daisy Buchanan as a woman born into a wealthy ‘old-money’ family, where she’s a victim of traditional values that must be upheld. Daisy comes across as helpless and childlike possibly due to her sheltered upbringing. On the other hand, she is materialistic, insincere, and deceptive. Daisy commits a violent crime without acknowledgment or remorse. She comes across as somebody who is devoid of real emotion; she allows Gatsby to pay the ultimate price for her wrong doings and fails to show an ounce of gratitude in his wake.
In similar ways, both Norma and Lear construct a false reality that is salubrious to their madness. Norma shuts the doors of her gargantuan mansion to the outside world and lives in the glory of her past. King Lear decides to let his daughters bide for his love in order to encourage his ego. Of course, every action has an equal and opposite reaction. These decisions led to seclusion from society and the ones they loved.
The embellishment of the daughter’s love by taking advantage of their father through flattery is the basis for the final quote of the play as Edgar remarks about the consequences of lies and manipulation rather than speaking from the heart. Though Regan and Goneril replied to a dramatic degree of which they love their father, Lear interrogated her by exclaiming, “What can you say to draw a third more opulent than your sisters? Speak” (Lear 1.1.87-88). Filled with power, Lear spoke to his daughters in an arrogant tone as he hinted that his inheritance is related to how much love they profess towards him. In response, Cordelia answers of nothing, beginning a string of repetition of the word “nothing” each with various syntax and punctuation to show the tension building between the father and daughter relationship.
This does not include the fact that she lead Gatsby on throughout the whole entire book. Gatsby gained feelings for this women that only wanted to get revenge on her husband. This action by Daisy is disgusting in the way that Gatsby loved this women so much that he was willing to die for her but all Daisy wanted was revenge on Tom for what he had did to her. Leading someone on, especially to the extent that Daisy does is utterly disrespectful. Daisy knows how in love Gatsby was for her and yet claims that she is in love with Gatsby also but is using him to get back at Tom.
Jenna must reform her identity from the small bits she knows about herself. And she may just piece together the puzzle that is her life, but not without the aid, either negative or positive, of the people around her. Jenna’s mother and father contribute the most to her imperfect identity because she is influenced by them to become who she is at the end of the book. Identity matters to a person because it is what makes one person different from another. Claire, Jenna’s mother, is certainly the largest contributor to Jenna’s identity, because her manipulation results in Jenna’s broken identity.
While as informed by the author Beloved has no good intentions but only to cause Sethe pain, Seth can’t because she is blinded by her aim to make it up “to her daughter.” Blinded by her love for her daughter, Sethe continually shares information about her past with Beloved which ultimately serves as a catalyst for the materialization of unpleasant memories she had lived to suppress. While Denver, Sethe’s child relates well with Beloved under the impression that she is creating a bond with her, she is oblivious to the fact that beloved is using that opportunity to make her mother suffer and destroy her. Through highlighting the experiences of these characters at this point, Morrison sets out to use the trauma theory to show the implications of trauma and the actions people result to to go through their experiences. In this case, the author shows guilt as an outcome of trauma and how Sethe blinded by her guilt gets exploited and even at some time her pain get intentionally added. Informed by the insights of the trauma theory, the author shows the far-reaching implications of trauma where in the case of the characters, they become reckless and oblivious even in situations where other people seek to abuse and cause them harm (Kreyling
Pavla Chudějová in “Exploring the women’s experience” states that since Cordelia cannot compare to her attractive and talented older sisters, she makes great effort to keep up appearances in fear of being considered “disappointing” (Cat’s Eye 73). As Cordelia cannot adjust to the social expectations required in her family and in attempt to liberate herself from the constant surveillance performed over her, she refocuses her gaze to Elaine. Elaine presents an easy outlet for Cordelia’s frustrations because she is completely unaware of gender restrictions (43-44). As noted earlier, two events demonstrate Cordelia’s cruel treatment of Elaine. The first incident occurs when she digs a hole in her backyard and the three girls bury Elaine alive in it.
This reflects entirely on the utter careless in which Daisy and Tom live; Nick says that Tom and Daisy are “careless people… they [smash] up things and creatures and then [retreat] back into their money or their vast carelessness or whatever… and let other people clean up the mess they [have] made” (Fitzgerald 187). The Buchanans and the ultra-rich live their lives without any purpose or care. They simply drift through the world spending their endless amounts of money without contributing anything to society. Fitzgerald incorporates both the universal and more profound of white to critique the carelessness and hollowness of the