“Orual even shows a perverted, possessive love in her relationship with Bardia” (Saunders 6). She never considers how the stress she puts on him wears his life away; she only cares about spending time with him for her own enjoyment. She withholds him from going home to Ansit while dreaming about scenarios where she herself is his wife. This again goes back to the idea of Orual’s intense jealousy and possessiveness. However, these fantasies and dreams that she entertains herself with serve to prove how Orual cares about Bardia.
This realization is what inspires her decision to rebel against society’s standards for her. The sea also symbolizes Edna’s love, at first soft and sensuous, but ultimately causes her death Character Development Edna starts the novel a devoted wife who is concerned with pleasing her husband along with keeping up appearances. As she falls in love with Robert, she is more aware of her sexuality and decides she rather please herself, than her family. So she abandons her wifely and motherly duties to pursue this relationship by moving out and refusing to raise her children. She then continued to pursue Robert but did not want to marry him because she doesn’t want him to own her.
Her anguish and anger was relatable by the audience because her sorrow and grief symbolises an average woman of her time who would have reacted in a similar way after a loss of her husband. However she transforms herself into an evil master mind and labels her husband and his new wife as her enemy. Her pursuit of revenge and will of making 'corpses of three of her enemies' flips the whole scenario as well as her characteristics. By this time she becomes a distinct character and no longer remains a typical woman. This clearly shows the hidden strength of a woman which was suppressed by men.
And how Nea deals with this events. This story is written with the immature and unreliable 12-year old perspective. These two sisters have grown together all through their life’s, creating a strong bound, and the fact that her family and a “old guy” is taking away her sister is something she can’t stand. In the end Nea believes that she is saving Sourdi from Mr.Chhay and her mother. However what Nea does not understand in all her youth and idealism , is that sourdi does not want to be saved: She willfully accepts her fate and her marriage to Mr.Chhay because she finds financial stability and a secure future.
Daisy Buchanan’s reality is very stressful and problematic, so she finds solace in coping methods that aren 't the most effective. “‘Oh, you want too much’ she cried to Gatsby ‘I love you now- isn 't that enough? I can 't help what 's past,’ she began to sob helplessly. ‘I did love him once- but I loved you too’” (132 Fitzgerald) She doesn’t want to deal with her loveless marriage and the fact that she still loves Gatsby too. She goes on to have an affair with him, but never actually confronts Gatsby or Tom about this.
One example of this is found when the misfit partners take bailey and Wesley away, the grandmother pretends to act devastated and cries out for baily but to the reader’s amusement the grandmother is looking at the misfit the whole time, almost trying to convince him about her lady like virtue of caring of family. By doing this the author brings to attention how dramatic the grandmother is acting and brings insight on how the misfit is catching on to her false ideals. thus this is another foreshadowing trail the author leaves to the reader to anticipate the grandmother
This gave her the full right to feel frustrated about herself and her child's future. She was amazingly resentful and felt bamboozled by a spouse, who at their wedding, had guaranteed to be close by at unsurpassed. This was the guarantee, she said he had broken while alluding to her children's "trickster" question. What is imperative to note down however, is that even though she said things like he was a swindler, who had broken his guarantee and had lied and was bad a father or a spouse, she said it out of outrage. Nonetheless, when the Macbeth sent the murderers to slaughter her and her child, she instantly stood up to the resistance of her husband.
Pisters explains generally that “the concept of becoming-woman is understood as “a way of understanding transformative possibilities— the ways in which identity might escape from the codes which constitute the subject” (Pisters 79). The film begins with an unsteady understanding of Irene’s identity. It is assumed that she was invested in a marriage with fidelity and when her husband broke this, she was so distraught that she killed him along with Agustina’s mother. The act of killing her husband breaks her out of an old identity and now she is dealing with both the consequences of her actions and finding herself again. The investment she had in the marriage may have been a reason why she was blind to the violence her husband inflicted on Raimunda.
Medea replies, “It will hurt my husband most that way.” (208) Medea wanting to commit this act on the sole reason that it will hurt her husband who left her, shows what kind of person she really is. Before actually murdering her children, Medea does start to show some signs of uncertainty and remorse. She contemplates whether or not to kill them, for she really does care for them. She says, “Goodbye to my former plans. I shall take my children away with me.” (213) Medea also goes on to say, “And yet...what is the matter with me?
This is encapsulated in Hamlet exclaims, “frailty, thy name is woman!” about his mother’s hasty marriage to her deceased husband’s brother (Shakespeare 1.2.150). In this quote, Hamlet is dismissing all women as weak-willed like he believes Gertrude to be, which affects his interactions with Ophelia also. Hamlet is cruel to her because of this anger he has towards women in general, so when pretending to be mad, he goes “full force in the misogynist rage” when telling her he used to love her, but now she should go to a nunnery (Traub 192). Ophelia can be seen as weak in this scene because she protests little against Hamlet and only hopes that his insanity will end. These crude comments Hamlet says to Ophelia continue throughout the play until Ophelia is being buried when Hamlet asserts that he loved Ophelia.