surprising to create Balarabe Jr. as a character who is guilty of infidelity by keeping a concubine while he abandons Zaria, his wife. They have turned away from the fact that this contentious issue is a hydra-headed monster which is capable of been able to ruin a home. They claim that it may result in taking on a second wife, in complete neglect or abandonment or both. According to them, how does a wife react to marital infidelity in a situation where she expects no redress from society, tradition and family? This is actually the plight of Baram Alkali’s case in Personal Angle.
Stella is demonstrated to live her life consumed with illusion until the final scene of the play where, as Blanche is taken away and loses her mental stability, Stella realises the problems that she may have caused by not defending Blanche from Stanley, as she is blinded by her own illusions of her relationship Stanley. Stella lives in denial of her abusive relationship with Stanley by creating excuses and illusions that everything is fine. This is evidenced when Stella says “You’re making too much fuss”, therefore it is obvious that Stella is used to the abuse she receives from Stanley and shows to Blanche that it is a regular thing that would happen to women in New Orleans, however she creates the illusion that it is okay or that it does not happen, as she dismisses giving any information on it. This could be a portrayal of her Southern Belle
and she is deeply affected by all the tragedies in her life. She is a tragic character, who is unable to exist in the world which surrounds her so she makes up a better world in her imagination. The world she wishes to live in. People can sympathize with Blanche because of all the tragedy in her life. Susan Henthorne writes in her essay A Streetcar Named Desire, Death and desire bring Blanche to this low point in her life.
The play ensues with Loureen raising her voice to her beloved abusive husband, when she challenges his authority he vanishes. This is where the plots play takes flight as Loureen is left awestruck by his disappearance. She is left confused on the way forward; she does not know how to carry on with life without her husband while feelings of despair and resentment reside within her. She questions whether she is murderer or victim and is left puzzled while trying to piece together the fragments of her life now that she is rid of the monster and freed from his gripping claws. We see the typical symptoms of battered woman syndrome, being displayed by Loureen, as she goes back and forth between memories of her husband and trying to figure her way
This theme is subtly shown throughout the story, but becomes more apparent after the main event, the slaughter. After Date Bed is presumed missing, Mud, despite the fact that she is not of She-S blood, shows concern for her friend and adopted family member throughout the story – “It is just as well that Mud’s thoughts can’t be heard because what she is thinking is, “I’m the one who loves her. None of you loves her as I do,” and the uselessness of her love arouses her to such a pitch of anguish that she thinks of returning to the plain and searching for Date Bed on her own” (Gowdy, 105). The other She-S’s feel the same way as well – She-Snorts states, “I would not go to The Safe Place…knowing that Date Bed might still be alive and lost” (Gowdy, 249). If the She-S’s didn’t care for their family as much, they would have abandoned all thought of Date Bed and wouldn’t bother searching for her.
Therefore, John represents the bars of the wallpaper which confines the woman and doesn 't allow her to be free. First, we can observe the descriptions or feelings that the narrator expresses when speaking about John. Although these descriptions or feelings may seem positive at times, they slowly become more negative and judgmental throughout the story as she realizes that John doesn’t
These rumors were a threat to what she has created in order to help her with the chaos in her life. Although she tried to build a new life with Stella, Stanley never gave in to her act and was constantly suspicious of her actions. Stanley's constant investigations and interrogations on Blanche’s old life. This is a representation of reality is starting to creep in of Blanche's newly created life. From the beginning Stanley has doubted Blanche, this is seen as he went through Blanche's things with Stella, questioning her belongings, “has she got this stuff out of teacher's pay?”(2.33).
As an adult, Jane asserts her independence by rejecting unequal marriage. When Jane finds out that the man she was to marry, Mr. Rochester, was already wed, she ran away. Mr. Rochester pleaded passionately for her to stay, revealing his unfortunate history and even threatening to use physical force to restrain Jane. Both tactics failed since, as Jane puts it, her conscience personified strangles her passion for Rochester. Being a mistress to Rochester in addition to being financially and socially inferior to him prompts her to leave him.
As a result of his damaged masculinity, Lear banishes her, to regain what he has lost in his masculine authority. As the play progresses and his daughters turn against him, he loses all his followers and his power, representative of his masculinity. In the end, he is left with nothing, and is beaten in battle by his daughter; the ultimate in masculinity defeated by
This makes marriage more open in the sense of being able to choose versus being chosen. As the title suggests, Pride and Prejudice are a main concern for Women and their marriages. If a woman chooses to be with someone she loves, even if it means being poor, she also loses her honor within the society and even her family’s honor.
Admittedly, Lady Capulet has a large influence of Romeo and Juliet death because they was making her marry a person she did not want to marry. But if they would
Opposing from The Great Gatsby’s representation of trustworthiness, A Streetcar Named Desire represents the ideology of trustworthiness through Blanches delusional thoughts, aggravated by her horrid past and silenced trauma. Many Character including Stella and Mitch place trust within Blanche who ultimately betrays them. Blanche’s representation of trust is through acts of sexual desire as she believe it to be a Method of coping for her past relationships. “[Blanche] [doesn’t] want realism. [Blanche] want[s] magic!
1.) Mitch takes off the lamp shade cover to see Blanche under full light (scene nine, page 144). "MITCH: What it means is I’ve never had a real good look at you, Blanche. Let’s turn the light on here. BLANCHE: [fearfully]: Light?
There are several ways you could say Tennessee William uses the motifs of light and shadow throughout the play “A Streetcar Named Desire”. One of the most obvious is how both are used to convey the difference between reality and the fantasy world some characters seem trapped in. Reality is represented by light, under it nothing can be hidden. Whereas staying in the shadows allow one to hide parts of themselves they wish to keep secret and create a false sense of reality, a fantasy of who they want to be. Williams also uses light to develop the character of Blanche, who struggles with her past and aging body.