The contrast between the predatory nature of the hawk and the ineptitude of the puffin serve to paint women’s ambitions as comical yet concerning. Eleanor is the representative of women with ambitions and the consequences of those ambitions. This controlling and fanatical behavior led to disastrous consequences for her son that damaged his love life. Threatened by Raymond’s girlfriend she forces him to end the relationship, a threat which Wiley addresses when he writes that “mom never meets competition [because] she betrays the people who would give her a battle before she brings up her troops” (Wiley 206). In her ambition the actions she takes ultimately betray her son and later her
She has a second child, a boy, whom her father also steals. Her mother becomes seriously ill and dies. Alphonso brings home a new wife and continues to abuse Celie. Not only this, he wants to disgrace Nettie too, so that he could own their property. The covetousness, for property takes the violation of a father-daughter relationship.
For some people it means getting in with the wrong crowd, as longs as it means they are accepted. For Mayella Ewell that meant trying to be loved by a man she didn’t love. “She was as sad, I thought, as what Jem called a mixed child: white people wouldn’t have anything to do with her because she lived among pigs; Negros wouldn’t have anything to do with her because she was white” (To Kill A Mockingbird pg 256). Mayella seems to be an outcast to everyone, including her own family. Tom testifies that her father shouted profanities at her as he made an escape.
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.
Macbeth had another chance to change his outcome. his wife was consumed with the idea that he would become king, so much so that she pushed him to kill the current King. She said she couldn 't do it because King Duncan looked too much like her own father. Macbeth could have easily dismissed this and not listened to his mentally dwindling wife, “Come, thick night, and pall thee in the dunnest smoke of hell, that my keen knife see not the wound it makes, nor heaven peep through the blanket of the dark, to cry ‘hold, hold!’” He followed the instructions of his wife and killed the king. This led to him going insane.
Poe’s usage of resources like dark atmospheres, messing around with the time in which the story is represented, this was most commonly used to alter reader’s ideas of the perfection and the beauty and divert them more to the contemporary side. He liked to mix different settings with times who were most likely to confuse the reader’s perception of it, making his stories more suspenseful. Poe’s characters had something in between, parts or their full names weren’t ever mentioned. He believed the real emphasis should be put in the emotions of the character, not in the identity. This is the case of "The Pit and the Pendulum" where the base of the story is the representation of characters fears not knowing the name of the same.
The purpose of the play, according to Gradesaver, “Wilde’s references to the crucial issues of his time are usually overshadowed by his characters own petty problems” (2017, under “The Importance of Being Earnest Study Guide”). Wilde’s exploration of these characters and their problems makes the play quite humorous, perhaps he wanted to comment on the morbidity of society at the time. There are a range of themes present in the play such as, sincerity vs hypocrisy, leading a double life, life as art or fiction and the nature of marriage. These themes particularly look at the establishment of the Ernest persona’s and the irony of the
However, when overused, the affect become redundant and looses impact. Yet, when properly placed and implemented, this gesture can be powerful tool in scenes having highly motivated speeches or confrontational arguments Leaning in is indicative of being attentive, interested, or desirous. This head movement is usually very subtle and almost imperceptible, yet it has a telling affect on relationships. It signifies the person is actually listening. It implies a connection, either intellectual or emotional.
Gilgamesh rejects her advancements solely because of the way Ishtar treated her previous lovers. Gilgamesh reminds Ishtar of the way she used to treat her ex lovers and in the same breath he insults and shames her This angers Ishtar the goddess of love and war .Ishtar approaches her parents Anu ,the sky god and her mother Arura the goddess of life and fertility in tears of earth . Ishtar told her father Anu about the Insults and Shameful things Gilgamesh said to her. Her father reminds her that she brought it upon herself, Ishtar pleads with her father to give her the nose rope of The Bull of Haven to kill Gilgamesh. She threatens her father that she will open the gates of the underworld and this would cause destruction as the dead will kill the living.
His view that a healthy body’s “procreative vigour” would in a couple of generations, spell disaster comes in for sarcastic ridicule in Alderman Cute’s admonition to Meg. And it’s quite a detailed admonition: How after marriage she’ll quarrel with her husband and be a distressed wife; how he’ll put her down and her children who “will grow up bad, of course”; how they will be without shoes and stockings, and so on, not forgetting to mention suicide! Filer tries a terse variation, while reproving Richard, when he remarks that the poor have no “right or business to be married”. But Trotty’s “Born bad!” refrain is at the expense of the believers in original sin and, in fact, endorses Malthus who resolutely opposed the doctrine. Trotty has internalized the doctrine but the “correction” or explanation comes when the Bell tells him that it’s the circumstances that make one bad.