Iago will continue his lies and deceptions as long as Desdemona and Othello’s marriage is intact. The use of dramatic irony reveal includes Iago’s claims that, “Or failing so, yet that I put the Moor/ At least into a jealousy so strong/ That judgment cannot cure” (II.1. 300-302). Iago believes that placing Othello into a pit of jealousy and paranoia will make him feel better. Iago believes he has to destroy Othello, because he believes that Othello committed adultery with his wife, Emilia.
The Thénardiers bombarded her with letters, heartrending in tone and ominous in their exactions” (Hugo) forcing Fantine to sacrifice everything she had—the little amount she had left for money, her hair, and her teeth. Eventually, it came to a point where Fantine said, “Well…I may as well sell the rest” (Hugo), meaning prostitution. She gave up her entire self, for the happiness of her daughter, and through it all, Fantine showed resiliency. In the novel, she battles through the circumstances that she endures and overcomes them when her rescuer, Valjean, liberates her from
Later Meena comes to Hakim sahib’s house to give him the baby. Upon finding out who the baby was, Hakim’s wife screams at him and he beats her up. She tells her daughter what happened and Zainab that they will all leave the house. At night Saqa arrives to take meena’s daughter, hakim tries to kill the daughter but he himself was killed by Zainaib with a fatal knock on the head. They hide the baby and tell Saqa that Hakim killed and disposed off the baby.
Havisham. Miss Havisham is portrayed as a self-absorbed, eccentric, whimsical dowager whose sole purpose in life is to exact revenge on men. To achieve this sadistic goal, Miss Havisham has adopted Estella and mercilessly reared and shaped her into a destructive tool devoid from human sympathy. Miss Havisham has fallen into her current state of affairs after she was jilted on her wedding day. As a course of revenge, Miss Havisham has stopped all the clocks in the house as the same hour and moment as she received the news, kept wearing her wedding dress, and left the wedding feast as it is to rot and decay.
Continuing with the insults she claims that, “when [he] durst do it, then [he] were a man,” which considering the times, femininity was considered a weakness (1.7.49). Lady Macbeth’s intensive compulsion tactics, I believe, made Macbeth mentally unstable which subsequently allowed for his delusional state to
Othello furious and blind by jealousy is no longer able to think: in the last meeting with Desdemona, Othello accuses his wife of treason with Cassio and deceives her by saying that her alleged lover died. Desdemona burst into tears and Othello suffocates her on the bed. Upon the arrival of Emilia and the other characters, Othello confesses that he has killed his wife and shows as proof the handkerchief found in Cassio’s room. Emilia understands the truth and, the moment she is about to unveil it, Iago kills her and then flees. Othello, understanding his fatal error, can not resist the remorse and pain and stabs to death, dying on Desdemona's
Juliet sees him lying dead, suffers in shock as well, and stabs herself. To conclude, both of them end up killing themselves. These occurrences lead to the fall of the highly renowned protagonists of the story. However, the fall of Romeo and Juliet leads the Capulet and Montagues to understand their own flaws: “Poor sacrifices of our enmity,” (V.iii.304) This leads them to resolve their vendetta: “O brother Montague, give me thy hand.” (V.iii.296) They are able to recognize that the whole tragic situation of Romeo and Juliet’s deaths was caused by their errors. Therefore, the scene of suffering serves as a catalyst for this recognition by the
She pushes Masooma out of a tree causing her to be paralyzed. Parwana is now guilt-ridden. She becomes Masooma’s caregiver for many years to atone for her sin. Masooma commits suicide to clear the way of marriage of Saboor and Parwana. Abdullah suffers the second stroke of tragedy when his father Saboor gives away the little Pari to a rich man just for money.
James Morwood in his third volume, Hecuba: The Trojan Women; Andromache (2000) focuses on the torments of Troy 's survivors, especially the dreadful viciousness which both women and children endure evokes a retort of matchless intensity. In this book, the aged Hecuba is portrayed with dismayed approbation to her flexibility amid chronic suffering. It persists on the conquest of the female strength in the course of the repulsion during the war. Lowell Edmunds in Stealing Helen: The Myth of the Abducted wife in Comparative Perspective (2015) analyzes the familiar stories of beautiful women who are abducted and the husband’s expedition to recover them. With the best reference from Greek myth, Edmunds evaluates an enormous variety of folktales and texts demonstrating the story prototype of the abducted beautiful wife and makes a comprehensive comparison with the Helen of Troy myth.
Panchaali is informed that she has been gambled away like property, “no less so than a cow or a slave” (PI, 190). When she is dragged into the hall, the whole court stares at her, but worst of all is that her husbands send “tortured glances but sat paralyzed” (PI, 191). She is stripped of all ornaments, yet the ultimate shame is the command to take off her sari, the only item of clothing protecting her from “a hundred male eyes burning through me” (PI, 191). she forced to expose her vulnerable body to male eyes, reduced to the status of an object lost by her husband. In the novel, Panchaali describes the situation thus: “The worst shame a woman could imagine was about to befall me – I who had thought myself above all harm, the proud and cherished wife of the greatest kings of our time” (PI, 193).