Her defiance becomes stronger and will carry her through different hardships. Her determination and lonely stand repeats again when she confronts Governor Bellingham over the issue of Pearl’s guardianship. When Bellingham wants to take Pearl away from Hester, Hester reply’s with, “God gave me the child! I will die first!”(Ch.). When also pressured even more for the child’s care, Hester pleads, “God gave her into my keeping.
Oh, I am your little Pearl… Art thou my child, in very truth?...mother half doubted...thou art not my child! Thou art no Pearl of mine!...said the mother… (Hawthorne 89-90). Even though Prynne is playfully stating this question there is this inner question that she is not able to hide after the fact that Pearl is present to constantly make Prynne question herself. “God gave her the child… This child of its father’s guilt and its mother’s shame hath come from the hand of God” (Evans). Though as much as she wants to question Pearl being her daughter, she realize that Pearl is a living reminder of her “sin” she has committed.
Then comes Antigone, the girl who thinks she has the right to act against the law. This poses a moral dilemma for Creon, as Antigone is his niece, the last of the descendants of Oedipus. However, Antigone makes the decision easier by explicitly taking pride in her actions and slighting his uncle. Her justification is merely that Creon’s law is not the mandate of her God, and that the burial of a family is more imperative than all else (500-523). When confronted by Creon with Polynices’ treacherous crime, she cannot put up any defense.
In questioning, Antigone uncovers that she knew her actions went against Creon’s orders, but she could not disobey the Gods “because [she] feared a man” (459-460). To maintain his power in reign, Creon determines Ismene guilty by association (488-489) and demands the sisters be sentenced to death promptly. Ismene, who refused to participate in the burial, attempted to persuade Creon to let Antigone and herself free. She pulls on Creon’s heart by speaking of his beloved son, Haemon, “‘but she is Haemon’s bride--and can you kill her?’ . .
There’s a power balance between the three men and the two women in The Reeve's Tale that is influenced by patriarchal values. The author limits actions performed by female characters to carry stereotypical assumptions of gender expectations. If you examine closely, the miller's wife is unnamed purposefully because she is considered untrustworthy and invaluable to Symkyn. Also, any credibility that is given to a female, has to have a man present to accept those responsibilities. This formulates that women cannot exist without having some type of man to establish their credibility.
“There’s a gap between a speaker 's meaning and a listener’s understanding; and that words only gain meaning through the mutual agreement of the speaker and the listener…” (Tobin 14). To sum up the article, “A Radically Different Voice”, Anne Hutchinson showed the culture of how frightened leaders were from a different opinion and voice that threatened their vision of society (1). Hutchinson was a fighter and did not quite, no matter what leaders tried to accuse her of or jumble her own words around. She was the first female voice to express her opinion on how she felt about her faith. For the better, it opened her communities ears and eyes to reevaluate their
In a literary article,The Role of Women in Othello: A Feminist Reading states that,” Society weighs heavily on the shoulders of women; they feel that they must support the men and defer to them, even if the actions of the men are questionable” (Literary Articles). Although Emilia does not ever say these powerful words out loud, she is still willing to not follow her husbands commands despite his strong character. Emilia proves again that she has powerful thoughts when she stated that,”Let husbands know, Their wives have sense like them; they see and smell, And have their palates both for sweet and sour As husbands have’ (Othello IV.3.92-5) Emilia contends that women are physically the same to men,they both get distraught and have issues that trouble each other, they should treat each other similarly. Women can still analyze literature about the inequality and rights for women through many of the injustices that are modern today.
It 's like what Aunt Lydia said about “freedom to and freedom from” Pre Gilead, it was protection from [everything below is not yet editted] •“A Matriarchal Gilead”: how disunity forms through restriction (first talk about their restrictions and why it is that way, then talk about how the women are set up in this matriarchal/caste system; eg; domestic work, handmaids and commanders wives and marthas) ◦at that point we can try to pick apart who the real enemy, at first sight, in the handmaid 's tale, it might be men, but they can easily be victims themselves •“Handmaids: Superior or inferior?” ◦EXPLOITED but at the same time, idealized into weakness. ◦“the salvaging” sex is a primary way of organizing humans because it is so easily recognized; superior and inferior groups, in the handmaid 's tale, allow for cheap or unorthodox distributions of labor, in which the society depends on to function. ◦The idea of feminism is arguably the central focus of our entire unit- female empowerment and equality, the differentiation between societal roles and the demeaning of the woman’s ability-generally, women 's rights and the advocacy of maintaining them in social, political, and economic
In this situation, Offred 's decision to not break the rules shows how scared she is of the consequences and how obedient the regime has made her. Also considering the benefits that come with having a baby in Gilead, it shows just how more cautious and by the rules she is. However towards the end of the book Offred 's actions change drastically and she ends up doing things that are definitely not allowed. In chapter 36 when Offred is offered lingerie by the commander her reaction is, “Yet there is an excitement in this thing, it
In Oleanna, Mamet initially assigns Carol diction that pinpoints her inferior status but then advances with Carol’s word choice becoming more commanding. As the end of the play approaches, Carol begins to emphasize the shift in power that has taken place. Her word choice displays how she has more ascendancy over John as she begins to denounce his actions: “All your silly weak guilt, it’s all about privilege, and you won’t know it. Don’t you see?” Carol’s assertion of her newly-attained power focalizes how she can finally express her opinion and let her voice be heard. Likewise, the addition of the phrase, “Don’t you see?” adds a touch of irony since it plays off the notion that the man knows best and that his view is the correct one; in this case, Carol is the one indoctrinating her opinion to John and is being highly critical of his lack of understanding towards her view.