Abigail 's heartless attitude is shown in act two when she frames and accuses Elizabeth Proctor for witchcraft. She desired and longed for this revenge on poor Proctors innocent wife, aiming for her through out the play. Later on in Act Three she seems to lose her last attachment of society by destroying John Proctor, who she claims to love with all her heart. When John attempts and threatens to expose Abigail’s wrong doings, she skillfully manages to turn the whole problem around on him, sending him off
In this, Gilman masterfully creates the entrapping wallpaper as a mirror to society and its entrapment of women into an "acceptable" role. And as her fascination begins to continuously haunt the narrator, she is effectively silenced once again by her husband 's condescending attitude about her illness, "John laughs at me, of course, but one expects that in man. John is
The theme that power corrupts expresses its way through Macbeth is when: Macbeth’s wife plans all of the killings in order to possess power, and also when Macbeth becomes a complete murderer in order to maintain his power and titles. The theme of power corrupts develops over the course of the play in Macbeth’s life. Macbeth starts off as a kind, noble man—who is too “kind” for his wife, Lady Macbeth. His first title is Thane of Cawdor, and he does not let this title
Rinaldi’s choice of words showcases her tone towards the subject. She clearly does not accept the way society views mothers. With further investigation, it was discovered that Karen Rinaldi has produced several works, some titles including What is Men For? and The End of Men, by reviewing some of her additional work it can be predicted that the author is somewhat of a feminist who supports better treatment of women. This can be seen throughout the entire piece.
In her essay, “The Importance of Work,” from The Feminine Mystique published in 1963, Betty Friedan confronts American women’s search for identity. Throughout the novel, Betty Friedan breaks new ground, concocting the idea that women can discover personal fulfillment by straying away from their original roles. Friedan ponders on the idea that The Feminine Mystique is the cause for a vast majority of women during that time period to feel confined by their occupations around the house; therefore, restricting them from discovering who they are as women. Friedan’s novel is well known for creating a different kind of feminism and rousing various women across the nation. In 1942, Friedan graduated from Smith College with a bachelor’s degree in psychology and took off to New York City to fulfill her dream of becoming a reporter.
It becomes apparent that the murder of the duchess sprung from feelings the duke had towards her. He was angry with her for “[ranking]/ [His] gift of a nine-hundred-year-old name/ With anybody’s gift” (Browning line 31-33) and “gave commands;/then all smiles stropped together” (Browning 45-46). Furthermore, he uncovers views his new duchess as “[his] object” (Browning line 53) like another other owned proporty. Thus, the speaker shows a psychological reality of pure, planned murder from jealousy, disdain, and hatred towards his “last duchess” (Browning line 1), which exposes a psychological reality that his intentions were to get ride of problem and boast about it in the dramatic
Browning portrays the narrator as mentally unstable, an explanation for the abrupt killing of Porphyria. However, the murder was likely motivated by the narrator feeling threatened as a male within the power structure. A clear shift within the structure occurs when Porphyria sits down with her lover and speaks of her love for him. At this point, the Victorian gender norms are well-represented, and Porphyria’s lover takes advantage of this. The first conscious action of the narrator was his murder of Porphyria, after he realizes his dominance and states Porphyria “was mine, mine, fair / Perfectly pure and good” (Browning ).
Bradstreet’s inner Struggle in a Nutshell: Motherhood is not a limitation, it’s an asset The poet Anne Bradstreet resorts to her stance as an industrious woman to further elaborate her poems using her two significant roles in Puritan society: wife and mother. In “The Author to Her Book” we can contemplate how the role of the mother has taken a big toll on her writing. Consequently, the poem itself is comprised of one long stanza in which the conceit correlates the poem and an ‘ugly child’, represented by the “ill-form’d offspring” (1). Why did she decide to use this juxtaposition? An idea that has come to my mind is how “poor” (25) circumstances are conveyed as a liability weighing over her head, ergo affecting her reasoning and making her believe that the only way in which she could possibly develop her poetry is through experience.
Charlotte Perkins Gilman 's ¨The Yellow Wallpaper¨, Roddy Dowell´s ¨The Pram¨, and Kate Chopin 's ¨The Story of an Hour,¨ can all be viewed with the application of the feminist theory. Throughout all three stories, the main character, who is a biological female in every story, faces struggles that are realistic for women in the real world. From the oppression that the characters in “The Yellow Wallpaper” and “The Story of an Hour” face with being married to men that use their illnesses as excuses to keep them down, to the way that another women kept the narrator in “The Pram” in
Moreover, an oppressed and alienated group has been societally discriminated: women. Therefore, when Mathilde developed a liking to Julien (marking the integration of different social classes), she encounters her idea love for the first time and detests any ideations of marrying her off to the archetypal autocratic men such as Croisenois and Caylus (Stendhal,
She even makes an allusion to Virginia Woolfe’s A Room of One’s Own, in which she discredits the homogeneity with which the mainstream feminists try to tackle women’s issues by saying “A room of one’s own may be necessity for writing prose, but so are reams of paper, a typewriter, and plenty of time” (116). Not even established authors can escape the blunt reality with which Lorde writes. She blatantly declares that her female readers will never understand each other’s struggles: “Some problems we share as women, some we do not” (119). Some might ask then how can we work together if we do not share the same issues? It seems as if Lorde’s attempt to shed light on social inequalities has only allowed the oppressors to fall further into indifference.