Steinbeck creates contrasting images of Curley’s wife by using literary techniques such as pathetic fallacy, juxtaposition and irony. Body 1: When Curley’s wife is first introduced into the novella it isn’t in person, it is through rumours and gossip. Evidence of this is when George is talking to Candy and Candy describes Curley’s wife as a “tart” who has “the eye”. This provides the reader with only a description of a married woman who is immoral and only causes trouble for the ranch hands. Specifically, the word “tart” dismisses her as a person and rids the reader of any thoughts about her having feelings.
The protagonist of The Yellow Wallpaper anthropomorphizes the floral elements of the yellow wallpaper, wherein wallpaper is typically a feminine floral decoration on wall interiors. These elements signify the scrutiny Victorian society makes of lives of its womenfolk, particularly of women who are creative and insubordinate to their spouses. The protagonist is one such woman; her writing denounces her imaginative character and the surreptitious persistence of her writing denounces her matrimonial and feminine disobedience which were considered radical in her contemporary society. Gilman expresses the suppression felt by women from societal scrutiny to be one of “strangling”, through the narrator, who in one instance describes the wallpaper pattern like so: “it strangles so; I think that is why it has so many heads… the pattern strangles them off and turns them upside down, and makes their eyes white!” Her anthropomorphizing of the pattern of the wallpaper adopts a grimmer facet when she writes that “when you follow the lame uncertain curves for a little distance they suddenly commit suicide.” It is also significant to note that the narrator describes the pattern as suicidal because it again emphasizes the narrator’s desperate, almost suicidal, need to flee the imprisonment of the nursery and from the oppressive, male-dominant society that the room and its wallpaper represent. Asides of the pattern, there are many probable connotations of the yellow colour of the wallpaper, for instance with jaundiced illness, and also the rigid oppression of masculine sun.
In Victorian society, women had the choice between two roles: the pure woman or the fallen woman. Bram Stoker plays with these anxieties revolving around female sexuality – he follows the gothic tradition of innocent damsel in distress against looming evil. The narrative structure Stoker imploys to the text through intertextuality reveals multiple point of view distinguishing a duality in Lucy - her true self and 'thing'. In order to cope with Lucy’s worsening condition, the male authoritative figures of the text assign a duality present in Lucy to make sense of her shifting from “pure woman” to “fallen woman”. Stoker exhibits in the structure of the multi-faceted narrative how certain characters are unable to cope with the duality present
The main symbolism present in the story is how the yellow wallpaper represents woman suffrage and the problems they endured during the 19th century. At first the narrator just see the wallpaper as a unpleasant addition to the room as it’s a “repellent, almost revolting… unclean yellow” (Gilman 801), and the
The word “fiend” describes an almost demonic hunger, which shows how she was seen to be immoral. During the play, in Act 1 Scene 5, she wants to be filled “from the crown to the toe top-ful of direst cruelty”, which show her desire to be morally corrupt and be only driven by ambition and power. Moreover, Lady Macbeth asks to take her “milk for gall”. This would have been very disturbing and perverted, as women at the time were seen to be only for child-bearing so, turning her breast milk into bitterness would be removing the sole purpose for her existence and would be tampering with the natural order of things. Further, Lady Macbeth would “dashed the brains out” of “the babe that milks me”.
Kate Chopin’s short story, “The Story of an Hour”, the author’s purpose is to point out the characters’ relationship problems and how they were in marriages during 1894. Kate Chopin, in “The Story of an Hour”, makes a statement regarding the unpleasantness of life for wives in a patriarchal culture. Chopin supports her claim through figurative language, such as irony, imagery, and an oxymoron. Chopin demonstrates an ironic relationship between the husband and wife. The author uses “broken” (page1) to show the reader how Mrs. Mallard really feels.
Social constructs from the eighteen-hundreds exploded into several pieces with Kate Chopin’s The Awakening. Eighteen-hundreds feminism ideas are presented and being as mid sentiments of women’s empowerment, but then become blatantly obvious later in the story when Edna starts her ‘awakening. Though it is arguable whether Edna was a selfish person who just chose to kill herself or an example of an early feminist, the book definitely did destroy some social constructs of that era. The Awakening contains great information about how gender relationships in the Victorian era was, and by the first detailing of the setting it is able to define its feminine response. One could suggest that Chopin is ahead of her time and indeed a Victorian feminist,
But on the other hand, her frivolous debauchery, money first, callous and like the devil general, to Gatsby an illusory fairyland, she is "a symbol of the American dream, is a typical representative of the" Jazz Age "gilded girl". It is also her dual image that Gatsby lost the direction, immersed in his dream of weaving. He mistook Daisy as his fairy princess, until finally she destroyed him. Below, this article from the daisy family background to analyze the relationship between Gatsby and Daisy "double image" and "American Dream" Daisy 's family background Daisy was born in southern Kentucky America Louisville, a rich family. Rich family conditions of her childhood make her love romance, live comfortably, Love the thunder.
“There, on the pendent boughs her coronet weeds clambering to hang, an envious sliver broke; when down her weedy trophies and herself fell in the weeping brook” (Shakespeare 130). Ophelia can survive tragic events because of her residential treatment. This would create a more interesting final, when the recovered girl will return and find out she is the only successor of the business according to the corporate charter. Polonius was a Lord Chamberlain in the original play, and he can be turned into a chief executive officer or part-owner in the modernized version. Discussion between Laertes and Hamlet from the Act V would happen near Polonius’s coffin in this
In Act III, Scene 1, Shakespeare presents a scene in which Hamlet and Ophelia discuss their relationship. Hamlet speaks in puns and ambiguities and accuses Ophelia of being a seductress. He urges her to either join a brothel or a convent and after this conversation, Ophelia speaks to herself of the changes in Hamlet saying, “And I, of ladies most deject and wretched, that sucked the honey of his music vows, now see that noble and most sovereign reason like sweet bells jangled, out of tune and harsh; that unmatched form and feature of blown