Lady Macbeth is calling to the spirits to assist her murderous ideations and to do that make her less of a women and more like man which will then fill her with deadly cruelty. This supports how she feels, about needing to be manly to commit these horrible
One who would read the story would tell you that the whole thing is about revenge and it can be looked at as revenge twists the mind of a person who is vengeful, to begin with, or as revenge is a driving force behind a person going so far as to commit a murder. Such a person might be so obsessed with vengeance that he imagines reasons to obtain it are the right doing. In this story, Montresor 's family prides itself on leaving no insult unavenged. Montresor 's obsession with this has perhaps made him imagine that Fortunato has insulted his family just so that he, Montresor, has something to try his family 's pride on. As when the narrator says ‘’THE thousand injuries of
This contrast immediately gives the reader an insight into the torment that guilt and regret can cause. There is a clear definition between Lady Macbeth before and after the murder of King Duncan. This character change emphasizes greatly the theme of the impacts upon a person due to the unnatural acts they have performed. In Lady Macbeth’s case the impact was guilt and regret both of which tormented her to point of serious mental illness, insomnia and ultimately a self induced demise. The author 's intention in bringing a once strong and evil character to the mercy of their own morality is to educate readers upon the impacts that guilt could have upon their own life if they were to perform the unnatural just as Lady Macbeth did.
She says ,"I have been hurt Mr. Danforth; I have seen my blood runnin' out! I have been near to murdered every day because I did my duty pointing out the Devil's people- and this is my reward? To be mistrusted, denied and questioned like a-"(Act 3, Pg. 108). This statement shows her that Abby likes her newfound power and will let no one take it away and power-hungriness is a villainous trait.
In the novel, 124 is a prominent symbol that is instrumental in developing Morrison’s theme, an individual’s acts of vengeance can mask that person’s desire for acceptance. Although Beloved reaches out to Sethe through 124 in acts of revenge, her ultimate goal is to reunite with her mother, who essentially thought to spare her daughter from the horrors of slavery. The very first sentence of the book tells that “124 was spiteful,” setting the initial tone of the novel to be malicious (Morrison 3). At this point in time, Beloved has been murdered, depicting the house and everything going on in Sethe’s life to be unsettling. Beloved personifies the house, giving it character, proven through the “white dress [that] knelt down next to [Denver’s] mother… (the dress) helping out the other” (Morrison 35).
The preceding passage also details the dutiful nature of Peppa to Gramigna, along with the violence she endured while romantically inclined towards him, and the time she spent with him as he flees incarceration. The preceding events act as a justification of the ultimate fates for both parties, perpetuating the pessimistic climate of the text, as well as maintaining the functions of verismo. It is interesting if one is to consider the life of luxury Peppa might have indulged in, had she not sought out Gramigna, and the unfortunate downward spiral that occurs as a result. Gramigna, bloodied and beaten, is paraded through the streets on a cart, Peppa in tow. She is handcuffed and branded a mistress – a scoundrel of sorts, bringing shame in her wake.
“So broken in mind by suffering, Dido caught / Her fate madness and resolved to die” (4.656-57). Madness, here, does not seem to be synonymous with insanity. Her calm plotting and planning prove that she has rational thought left, yet her judgement is quite clouded. Despair works in waves; ebbing away, it allows her to act calm, but it is still present, lurking under the surface. Then, despair strikes, and drowns her ability to see that ending her life is unnecessary.
Iago slowly makes Othello believe in false proof of Desdemona 's affair, thus Othello begins to psychologically change by gradually turning to murder through justification of Iago’s statements on Desdemona: “One is too poor, too weak for my revenge. Now do I see 'tis true. Look here, Iago All my fond love thus do I blow to heaven. 'Tis gone. Arise, black vengeance, from the hollow hell!
The passion displayed in this language, seen in the use of both sibilance, dentals and plosives in Line 24 ‘Stoned to death in the public square’, creating an impression of deep rooted anger suggests that from the very outset Antigone could fit in with the Hegelian view of Tragedy: she is a tragic heroine, her flaw is her anger and passion blinding her to self preservation and therefore she cannot see a way in which not burying her brother would be the correct choice. This is the common view of Antigone, however I believe that it is Ismene who truly fits this ideal, and this can be seen in her language: Ismene is more emotive than her sister, using more exclamatory punctuation ‘oh, my sister!’ (L36), alongside the use of more labial sounds ‘look at the two of us, left so alone’, creating a mournful, melancholy effect ultimately more sympathetic than Antigone’s anger. It also emphasises that where Antigone is focused on her anger and her brother, Ismene is more focused on grieving and protecting her sister. This could imply that Ismene, a more sympathetic tragic heroine’s fatal flaw is her inability to see past her grief to protect her sister
In Shakespeare’s novel, Hamlet, many characters were introduced as monumental pieces that made up the work as a whole. One significant character was Ophelia, daughter of Polonius, sister of Laertes, and lover of Hamlet. As much of the book was based around the plot of revenge, madness was a key description of the book’s identity and to which was passed to beloved and harmless Ophelia. Ophelia’s madness and loss of self conscious is significant as it shows the side of lost identity, the weak mind, and the negative influence of a life condemned to dictatorship. Although the madness and eventual death of Ophelia can be surfaced to the grief of her losses, it could also be used to introduced as a breakthrough in gendered stereotypes and serve a comparison on
Her love for them and her need to protect them was challenged by their deaths, and her PTSD only further enforces the fact that losing someone who one cherishes and lives for will change them irreversibly. (SIP-B) Najmah 's first instinct is to run away from her triggers in order to save herself from pain, but she simultaneously prevents recovery by building walls which keep people out. (STEWE-1) Najmah, as a war refugee from Afghanistan, had been incredibly susceptive to mental disorders such as PTSD. In the Middle East, refugees are likely to suffer worse from PTSD due to the loss of family. With no one to support them because of the common deaths of those who are close to them, Afghan refugees are often victims of mental conditions such as PTSD.
Perestroika is a term used to describe reformation when you are changing and improving for the greater good. This is perhaps why Kushner chose to name the second act of his play Perestroika, because the characters embody the meaning of the word in their transformations. Throughout the play it is evident that Harper is absolutely miserable and like many others, turns to her addiction in order to mask the feelings of pain and resentment of her unhappy marriage. Her story does have a happy ending in which she expressed the journey through her affliction in her final scene, “In this world, there is a kind of painful progress. Longing for what we’ve left behind, and dreaming ahead (Kushner 285).” This shows that Harper realizes that life has its downfalls, but in order to be happy we must remind ourselves of the good that is left to come.