Septimus had gone to serve in war with thoughts of ideal freedom which the Germans now threaten. His return however left him scarred and alone and he only married Reiza for her companionship because he couldn’t sleep at night or bear to be alone. Reiza in turn attempted to heal the marriage by bearing a child, but Septimus refuses and leaves her in her own darkness and lets her spiral out of control, not letting her fulfil or seek the pleasures of motherhood due to his reasons of not joining into the male patriarchy himself. Reiza is still loyal and confronts Septimus multiple times in attempts of his reciprocation towards her, but it is all to
Instead of addressing him as Hamlet or using an endearing term, she speaks to him as though she is of a lower class. Ophelia believes that she is not Hamlet’s or any man’s equal. Ophelia has never been treated as an independent individual. She is always following someone’s orders. Ophelia’s subservient nature causes her to suppress her feelings which eventually leads to her mental breakdown and death in Act IV.
She never discussed her struggles to maintain everything by herself to Art. In fact, she could never properly explain her love for him, which causes Art to believe that she’s avoiding him. “In all these years we’ve been together”...”I don’t think I know an important part of you. You keep secrets inside of you. You hide”…“Why do you keep pushing me away?” (Tan 388).
For example, the narrator in “The Word Love” lives a hideous life. She is not proud of her life in America because she is forced to do things that her mother warned her against. She lives with a man with whom they are not married, and she hates it that the practice goes against the values that her mother taught her. On the other hand, in the story “Silver Pavements and Golden Roofs” a girl from Calcutta finds transition of life different than expected. She lives with her aunt and uncle in the America.
The wife rejects the label ‘lesbians’ ﴾by definition ‘women having sexual relations’﴿ not for the sake of her own heterosexuality, but simply in regard of her husband’s personal identification. Faced with the ‘terrible lies’ ﴾Kay 277﴿ and cruel scrutiny of the media, Millie views herself as ‘the only one who can remember [Joss] the way he wanted to be remembered’ ﴾Kay 40﴿, constantly seeking solace from fond memories only she has control over. Colman Moody’s perception of his father’s identity is another puzzle solved accordingly to the story’s progress. Initially ashamed and ‘so embarrassed [he] could emigrate’ ﴾Kay 48﴿, Colman displayed a rather rude and sulky attitude whenever digging into his early years alongside Joss. Nonetheless, though many have mistreated this mentality as LGBTQ+ prejudice, it is clearly pinpointed by Colman himself that “It's not because I hate gays or anything like that.
She also irritably claimed that the reason they had no money was because the kids ' father and her husband was an unlucky man. She disgustingly went as far as to blame him for causing her to lose her luck. Nothing in the story showed any indication of her trying to instill good morals in her children. Her own son literally felt as if he had to prove himself to
Similar to Revolutionary Road, wife and husband’s different notions of self-fulfilment and dealing with a disappointing daily life contribute to severe problems in their relationship. American Beauty, however, does not emphasise the inability to compensate for a failed marriage between two partners who have forgotten how to love each other, but rather highlights the relationship between Carolyn, materialistic values and her blind urge to ensure an social power. Lester himself states, “Our marriage is just for show. A commercial for how normal we are; when we are anything but” (American Beauty). Carolyn does her best to keep up appreances according to her idol, Buddy ‘local-real-estate’ King’s principle “In order to be successful, one must project an image of success.
The Lisbon 's were Mary, Lux, Therese, Cecilia and Bonnie, who lived under their mother 's dictatorship, who controlled every part of their life. Their father is however, unlike any other novels written by men or men perspective, very sympathetic, but very submissive under his wife 's authority. The girls ' mother did not allow them to go on dates, get waxing, wear any make-up, wear tight or revealing clothing, go outside with friends etc. This lack of freedom and their tyrannical mother 's authority, push the Lisbon sisters in a deep depression and isolation. The
Chapter 1/ Part 4 Joyce Reveals Shana's Backstory Joyce don’t say anything to them please. Promise me you’ll behave there.” Joyce’s mother insisted. “How can you ask me to keep quiet, how can you Mom? You did nothing to help Shana. You knew what they did to her was wrong, but you did nothing.
In comparison, both of Ophelia and Miranda seem to show some kind of character development throughout the plays. Ophelia as mentioned before is completely dominated by her father, and she is left with no more guidance in her life after his death. Before, she has been manipulated and dominated by her father in every action she has made. She is in the line between her father and her lover, but she seals her own fate by following her father 's commands despite the damage it has caused to her relationship with Hamlet. However, despite Hamlet 's cruel words and actions towards her, she still refuses to think ill of him because the Hamlet she knows would never treat her this way.