Elsa’s isolation from heterosexual society makes her cold and unaccepting of companionship as she does not express interest in men. In fact, the idea of love conveyed in the film undermines heteronormativity, leading a family oriented narrative. Throughout the film, Elsa, and her sister, Anna are at the center of the narrative, facing challenges that prevent them from reuniting and ultimately finding peace with their inner conflicts. Princess Elsa
This is a question that John Proctor has to answer in his final act of The Crucible. Was refusing to give up his name an act of excessive pride or an act of honor. Proctor wasn’t a witch, but he wasn’t a saint either due to his sin of adultery. What gets John Proctor accused was his inappropriate relationship with his then servant Abigail Williams. Williams uses her new found power over her towns judicial
Not that she loved Daisy less, but that she--had doubts.” Assuming Loretta was incapable making a decision between running away from an unbearable relationship with Billy and the boundless love towards her older sister Daisy. Thus, interpreting the female gender ideology regarding women’s capability to be a role model within ”A Wicked Woman”. However, the ideology works against men when analyzing men’s potential of leading only with logic in the short story. In detail, the narrator describes the sudden conclusion Edward announces: "Loretta, I (Edward) am a fool.
His logic is that since Love is the desire of something, and one desires what they lack or they desire the continuance of what they love, then Love must lack beauty and good. Then, he tells the account of his encounter with a woman named “Diotima”. Diotima suggests that Love is neither ugly nor beautiful because there is a middle ground between everything, and that Love is neither a mortal nor a god, but a spirit that mediates between humans and gods. She then tells Socrates that at the celebration held for Aphrodite’s birth, Resource and Poverty met and created Love. Diotima also disputes against Aristophanes’ myth by saying that people would not look for their other half if it were not good since Love is the desire to have good.
The frame containing the picture of the wife is very deep and various in meaning , for example , the idea of putting her in a frame is to objectify the woman , even though it might show affection and love of Henry to the wife , the symbol of it shows the complete opposite , by framing his wife he is limiting her , and not giving her freedom and tranquility , it also shows how he wants her to always stay under his wing and does not want her to be free even after her death . And by that the narrator is showing us that she was not given her freedom , she was not that important in the eye of Henry , and that she was not equal to Henry , which proves the anti-feminism in the story . To sum up , the frame , of the picture has played a decent role in showing the anti-feminism in the story
Like most plays, they each have a protagonist with a so-called ‘fatal flaw,’ a lapse in character that leads to conflict within the story. For Much Ado About Nothing, the protagonist Claudio is gullible, and believes the lie that his love is unfaithful to him. In King Lear, Lear is prideful, and takes his daughter’s refusal to pour praise onto him as a personal affront. Another similarity between the two shows would be the use of misconception to further the plot. Lear believes that his daughter does not care for him and so takes away her inheritance, while Claudio believes that his betrothed has been unfaithful and so shames her on their wedding day.
In the end, it has been shown that Oscar Wilde has satirized love using farce such as in the sentence that girls never marry the men that they flirt with, when you would expect that to always be the case. This is also an example of inverted expectation because you would believe the opposite to be true. Wilde also uses diction to criticize love throughout the play in sentences such as when Algernon said that there was nothing romantic in proposing because he likes the uncertainty of love. Ordinarily, people would show their devotion to their significant other by making it official through a proposal, but Algernon disagrees. Oscar Wilde also uses dramatic irony to satirize love such as in the sentence when Gwendolen states that she has also wanted to marry someone that has the name of Ernest, when his real name is Jack, and not even Ernest.
When Desdemona marries Othello, she neglects to ask for her father’s permission for the courtship and wedding. Desdemona’s love for Othello is so blind and abundant that she forgets to ask the most important person who loves her for a blessing. This neglect of her loyalty to her father brings shame upon her father, which makes him appear that he has no control over his household, implying weakness in his leadership. Desdemona and Othello’s courtship seriously offends Desdemona’s father, which puts the both of their lives at risk. Desdemona’s father states that he should kill her for her disloyalty from getting married without his permission.
Not only was Medea exiled from inanimate things, but Jason also exiled her from himself. She was a misfit in Corinth. She associated with the wrong religion, wrong language, wrong relatives, and alas, not nearly as astounding or useful to the ambitious Jason as Glauce, daughter of King Creon of Corinth. Jason didn’t want to deal with the problems Medea held, so he did what he could to get rid of her as quick as possible. To do this, he married Glauce and banished Medea so that she was not present with the problems she had the potential to cause.
In Poetics by Aristotle, he defines the main components of a tragedy. It is as an “imitation of an action that is serious and also, as having magnitude,” and contains “incidents arousing pity and fear.” Antigone follows these core necessities and is classified as a Greek tragedy. The plot of Antigone follows Antigone’s inner-battle between loyalty to her family versus loyalty to her country. After learning both her brothers died in battle, she explains to Ismene, “It’s our brothers: Kreon, honoring one and casting the other out” (26-27).
Sushma Karki Professor Jacqueline Bradley English 1302 November 6, 2017 Protagonist and Antagonist of Antigone Antigone is a famous Greek tragedy story by Sophocles. This story about a young girl who punished by a king, for breaks the king’s decree. In this play, two main characters move forward the story from starting to climax and climax to end. One of the characters of this play is the antagonist and another is the protagonist. The protagonist is a good guy, who plays the positive role model role in the play.
Antigone, a complex character indeed-- many have described her as fiercely brave, tragic heroine, or even, a model of strength for women. Although the events of Antigone do lend easily to these characterizations of Antigone, it is also apparently clear that she possessed self-interested motives behind the burial of her brother, Polynices. She sought glory and honor for her actions, rather than having mere satisfaction from the actions themselves. Throughout the play, Antigone displays a sense of hubris regarding her brave and heroic sacrifice for her brother—the hubris is exacerbated with the repetitive diction, especially the words ‘glory’ and ‘honor’ and Antigone’s constant desperation for the world to know about what she has done.
Some actions are justifiable, while others are not. Antigone is a tragedy by Sophocles written in 441 B.C. as the third of the three Theban plays. The protagonist, Antigone, defies the law of man, placed by King Creon, by burying her brother Polynices who was decreed a traitor. In the play, most of Antigone's actions are justifiable because the intentions are dedicated to her family and following the law of the gods over the law of man.