Another sonnet and contemporary pairing is, William Shakespeare’s sonnet 152 and Amy Winehouse’s You Know I’m No Good. In Shakespeare’s sonnet 152, he is writing about a man who is seemingly not in a committed relationship with anyone, but is having sexual relationships with a married woman. He is both frustrated with the position he is in, but wants to stay is this adulterous affair because he is a selfish man. The first line of the poem he states, “In loving thee thou know’st I am forsworn” (1). Then goes on to say, “I am perjured most / For all my vows are oaths but to misuse thee” (6-7).
Margot is now no longer able to see the thing that brings life to her soul. After the dark clouds roll in William realizes his jealousy got to him, as a result he made an awful decision. Don’t let jealousy get the best of you or you will not only leave someone else in sorrow, but leave yourself regretting. At the beginning of the story Margot is bullied by William and her classmates. She is disliked because of many different aspects, and no one ever believes a word that she says.”Think the sun is a flower, that blooms for just one hour” (Bradbury), chanted Margot; She was soon faced with disbelief, William cried out that she was not the author of that poem whilst she in return argued with him.
As a result, Ophelia’s family tells her she is naïve and that her behaviour is unacceptable. Hamlet then takes his torment out on Ophelia when he says, “Get thee to a nunnery, go, farewell. Or if thou wilt needs marry, marry a fool; for wise men know well enough what monsters you make of them”. Throughout the scene, the audience can sense Ophelia is feeling heartbroken and betrayed. While Ophelia is seen as weak, Shakespeare conveys Hamlet’s escalating anger, with the character exclaiming, “If thou dost marry, I 'll give thee this plague for thy dowry: be thou as chaste as ice, as pure as snow, thou shalt not escape calumny”.
Firstly, the witches appear unnatural as they speak with strange paradoxes, which confuses Macbeth since he call them “imperfect speakers”. Furthermore, they end their first apparition saying “Fair is foul, and foul is fair. Hover through the fog and filthy air” as they talk about the Great Chain of Being, and say that everything natural is good and the unnatural things are bad. Moreover, Banquo think that they are unnatural “You should be women, And yet your beards forbid me to interpret That you are so”. Secondly, the hallucinations always happened when he is going to do, or that have just done something that destroyed the Great Chain of Being, the first hallucination is the dagger that he see in the air few minutes before kill the king “is this a dagger, which I see before me”, furthermore, the dagger is cover with blood, which represent the blood that is going to be in their hands all the play.
Having read it like an idiot. Looking in it for symbols” (156). In will do just that: look through and examine three of Nabokov’s, Lolita, Pale Fire, and Speak, Memory, for their symbolic elements. Nabokov did not use beautiful symbolism to advance his novels, he used beautiful language; nevertheless, within that strict prose, Nabokov slipped in some symbolism into his works. In Lolita, for example, the first description of the nymphet is followed directly by a quote from the girl’s mother: “That was my Lo[lita]… and these are my lilies.” To which, the pedoplile-narrator, Humbert Humbert, responded, “Yes.
Sophocles’s usage of dramatic language here helps to visualize the plight of Thebes. The language is particularly dramatic particularly the line concerning the “dark shore of the western god” which is the realm of Hades, the god of death. This section of the choral ode describes the failure of the harvest and lack of fertility. Similarly, Aristophanes uses simpler language in Clouds “Well, they’re [the Clouds] the only deities we have-the rest are just so much hocus pocus.” (Lines 482-483). Both employ diction that isn’t similar stylistically, but on appropriateness.
The first three stanzas of the poem focus on dispelling myths, paralleling the approach of the old world literature. “I am neither harem’s promise / nor desire’s fulfillment, ” Majaj writes, in response to the exotic representation of Arab women.97 “I am not a shapeless peasant / trailing children like flies;” begins the second stanza, which contests the notion of Arab primitivism and female oppression.98 “I am not a camel jockey, sand nigger, terrorist” Majaj declares in response to the insults launched at Arab Americans.99 In the space of a few stanzas, Majaj deconstructs the whole offensive profile of an Arab as it exists in popular American culture and media. Having established what an Arab is not, in the fourth stanza, Majaj begins her positive claims. The language she chooses for her cultural self-portrait is highly agrarian, shifting from the human to the natural world. “I am the laboring farmwife / whose cracked hands claim this soil” Majaj writes.100 (Eating homes thesis, 54) Before long, the images move to the sustaining foods
HEDDA. Exactly the girl with the irritating hair that she was always showing off. An old flame of yours I’ve been told. (Act-I, 24) Hedda sees Mrs. Elvsted’s hair as foolish and threatening because it represents both her femininity and her power over Lovborg, the only man that Hedda may have had feelings for. When Hedda finally enters the play, her lack of femininity is emphasized: her eyes which looks like steel-grey; cold, clear and calm are the antithesis of a feminine or womanly woman, such as Mrs. Elvsted’s for instance, whose eyes are "light blue, large, round and slightly prominent, with a startled, questioning expression" and hair is "remarkably fair, almost silver-gilt, and exceptionally thick and wavy" (Act-I, 10).
He spoke for and represented her" (Said 6). Said argues that the Romantic author Flaubert in his widely known Orientalist work Flaubert in Egypt depicts the Oriental woman as a voiceless being who is unable to communicate and express herself freely and that she needs to be spoken in her behalf. This fixed oriental image of the Oriental woman reoccurs in Frankenstein in the passage of the arrival of Safie to the cottage, Felix calls her “his sweet Arabian” (Shelley 121) but Safie does not seem to understand what he says and answers him with the gesture of a smile (Shelley 122). Additionally, Felix rejected his offer with contempt; yet when he saw the lovely Safie, who was allowed to visit her father, and who, by her gestures, expressed her lively gratitude" (Shelley128) Felix is not interested in material wealth which the Turk promised him because he falls in love with Safie who communicated her “lively gratitude” for having good intentions towards her father with
In comparison to 10 thing I hate about you the director, Gil Junger, is portraying Kat as a young girl who love feminist prose, and hates conformity. These days our society has evolving into a more equal one and these works are seen as un-feminist, as they portray women in a way that many are attempting to disassociate with; the idea that women are inferior to men is a philosophy that is being broken down and challenged. These works portray their respective Kat as loud and unfeminine, and these traits are perceived as negative. The main character in Taming of the Shrew is Katerina Minola, she is considered the ‘Shrew’ in the title. Her outward nature, sharp tongue, as well as her knack for verbal repartee has made men believe that she is nasty and quarrelsome.