With no children shrieking, or large women singing, she feels at peace in the silent solitude. Chopin uses the characters Mademoiselle Reisz and Madame Ratignolle to foil Edna and highlight her two lifestyle paths as a woman. In the pursuit of redefining her identity, Edna Pontellier struggles to deny her previous self as a mother, while also transforming into an independent individual, ultimately proving that a woman in the late 19th century cannot truly escape societal conventions. The initial description of all three women immediately sets them up in contrast.
Here he seems completely filled with love for this dead woman. It's almost a little too much. He calls her sainted,rare,radiant. In a sense, this Lenore is not anything like a real person. She's an ideal, a symbol of what the narrator thinks a perfect, unspoiled, untouchable woman ought to be.
After all, she represents the scarlet letter: wild, passionate, and completely oblivious to the rules, mores, and legal statutes of the time. “But again Hawthorne, by connecting the above moral platitude and by portraying the elf child not as treacly little paragon- like little Eva- but rather as a goad as much as a comfort to her mother elevates the emotional tone of the situation so that it is hardly recognizable. ”(William 3). Pearls had a individualistic passionate innocence. Hawthorne presents hypocrisy with forgiveness.
HEDDA. Exactly the girl with the irritating hair that she was always showing off. An old flame of yours I’ve been told. (Act-I, 24) Hedda sees Mrs. Elvsted’s hair as foolish and threatening because it represents both her femininity and her power over Lovborg, the only man that Hedda may have had feelings for. When Hedda finally enters the play, her lack of femininity is emphasized: her eyes which looks like steel-grey; cold, clear and calm are the antithesis of a feminine or womanly woman, such as Mrs. Elvsted’s for instance, whose eyes are "light blue, large, round and slightly prominent, with a startled, questioning expression" and hair is "remarkably fair, almost silver-gilt, and exceptionally thick and wavy" (Act-I, 10).
Antonia, as hard-working as any man or woman in the West, never reaches Jim’s definition of success. Yet, he still views her through “rose-colored glasses: “She lent herself to immemorial human attitudes which we recognize by instinct as universal and true… but she still had something which fires the imagination” (p. 261). Jim has and always will perceive Antonia as a fleeting emotion and an idea of rugged yet lovely strength. The tragic flaw in his view of her is this: Antonia is not an unsinkable pillar of fire and bravery. She is but a woman.
Her motivation in the story is wanting to have the same opportunities or lifestyle as her sister. Maggie is a round character because she is affected by her environment. Maggie is jealous of her sister-She thinks her sister has held life always in the palm of one hand , that “no” is a world the world never learned to stay to her. (297). She is affected by the house fire as well which altered her
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. While the second event happens as Cordelia throws Elaine’s hat into the ravine and forces her to bring it.
Elizabeth Proctor is an innocent woman with good morals, her accuser (Abigail Williams) is unreliable, and she would have committed a crime by now. Goody Proctor is religious, faithful, and has a virtuous life. Her strong beliefs allow her to never go against the ways of society. As a Puritan woman, it is known to never speak unless spoken to, and the job of a female is to cook and clean.
Joy/Hulga affects a cynical façade, claiming not to believe in anything. (As she tells Manley, "I don 't have illusions. I 'm one of those people who sees through to nothing.") Yet by the end of the story, Joy/Hulga 's carefully constructed façade is shattered; through the dramatic irony in her absence of self-awareness to the situational irony pervading the final scene, O 'Connor ultimately reveals Joy/Hulga as an innocent who is shocked when she witnesses the beliefs she once espoused as embodied in Manley
I admire Rose Mary for not caring about what others think of her; it’s quite daring. When she tells Jeannette about the two sides of life, tragedy and comedy, I agree with her 100%. Looking at everything in a negative manner does nothing tip-top for anyone; negativity
Again, this shows her maturing. Both of the quotes lead into the final example. “I realize that you can get through rough times” (196). This piece of evidence is probably the most powerful example yet. Jolly has gone through times people can’t even imagine.
“The stupid neither forgive nor forget; the naive forgive and forget; the wise forgive but do not forget,” [Thomas Szasz]. In William Shakespeare’s classic, “Hamlet,” Ophelia’s naivety presents issues because she blindly obeys her superiors, is not aware of what is happening around her and is quick to “forgive and forget.” Though some may argue otherwise, this major flaw is proven throughout the book with examples of how she is obedient, oblivious, and impressionable. Without these attributes, Ophelia could be able to stand up for herself, have a solid stance on important issues, and protect herself from getting hurt.