Grief plays an antagonist in this story, attacking each Henry family member as a result of David’s lie. Greif takes its worst toll on Norah, David’s wife, whom even professes, “Greif, it [seems], [is] a physical place, (305).” She grieves inconsolably when she discovers the news of her daughter’s passing, and frantically when the unfathomable truth about her daughter’s existence finally comes to light years later. Ultimately, it is David’s initial deception that devastates his chance of having a meaningful life. While his intentions were thoughtfully pure, David’s actions created a monster embodying heartache, silence, and grief, a monster he and his family could not
(40, Chopin) The awakening helped Edna to discard the conventional concept, and sought for the real self. Edna was awakened from her family. After Edna’s husband had conflict with her, she stayed alone and felt “An indescribable oppression, which seemed to generate in some unfamiliar part of her consciousness, filled her whole being with a vague anguish.” (6, Chopin) The long-term suppression awakened her from the meaningless times she had spent, since she were under the control of her husband after marriage and forced to take care of children. By realizing that she should find her own happiness instead of clinging to outdated custom, she decided to get away from her husband. Therefore, she was not longer going to be the same woman as others who centered their lives on husband and children.
Katie Nolan, Francie's mother, is consistently filled with dread. She works all the time to support the family and her alcoholic husband. She realizes that she has settled by marrying Johnny Nolan and dreams of a day when he is no longer is in the picture. She wishes her husband dead ''He's worthless, worthless. And God forgive me for ever finding it out'' (Smith 205) and her contempt for life has a direct impact on her relationship with her daughter Francie.
With a close examination between the two stories ‘Lamb to the Slaughter’, by Roald Dahl, and ‘Desiree’s Baby’, by Kate Chopin, there will be close similarities about a once loving wife toward her husband and a once loving husband towards his wife, now with the husband showing no more interests towards the wife, leaving her in an emotional distress, causing her to act out in a very hollow manner. The similarities that both ‘Lamb to the Slaughter’ and ‘Desiree’s Baby’ share, is the cause that started the twist. When both the main female characters are cast out from their husbands, when the husband had stopped showing love to the wife. When, in ‘Desiree’s Baby’, Armand, the husband of the female protagonist, Desiree, was showing her a face of pure love, as a husband should, especially after their first child, a son, which had no name. But, when son was three months, Armand had changed in mood since the baby was born, to which he wouldn’t even look at her with the same respect.
With this envy toward the fortunate students, she also builds animosity toward her family because the family continues to deny her importance in the family by leaving her eggless. After suffering through her unrequited love for her family, Adeline’s hope for a united family slowly wears away. While the Yen family dragged down Adeline’s efforts and dreams to create peace within the family, Rex dragged Jeannette’s efforts down. Since Rex was an unstable man who would do anything to gain his children’s respect and support, he tells Jeannette that “I’ll die trying” to quit his drinking problem to
Cleófilas feels trapped as a wife. The reader first sees a sense of ownership on Cleófilas in the first line, when her father, “Don Serafín gave Juan Pedro Martínez Sánchez permission to take [her] as his bride, across her father’s threshold” (Cisneros 43), Cleófilas is seen as property rather than a being, indicating that she usually does not make decisions for herself. She lacks self-definition throughout the story, especially when she gives in to the demands by her husband, especially when she is lacking passion in the relationship. It is what she “has been waiting for… whispering and sighing and giggling for, has been anticipating since she was old enough” (Cisneros 44). Cleófilas wants this passion in her life, however, she starts to believe that the type of passion she is seeking for is “in its purest crystalline essence” (Cisneros 44), only to be found in the telenovelas she watches.
They were both prisoners in their own life; forbidden to be with the ones they loved. Tita is realizing why her mother was always bitter and pushy; she lost someone that meant so much to her she couldn’t bear anyone else experience the love she couldn’t have. That is when Tita, “really wept for her mother. Not for the castrating mother who had repressed Tita her entire life, but for the person who had lived a frustrating love.” Knowing all
The idea of blocking everyone out helped Connie build her self-confidence. To emphasize Connie’s narcissism, Oates stated that “Connie’s mother kept picking at her until Connie wished her mother was dead and she herself was dead and it was all over” (324). Because Connie felt so negatively of her mother and family, she creates an idea of wanting to be on her own. She doesn’t know exactly what it is like to be without anyone to use as a crutch, but Conni feels as if her mother doesn’t want her to be pretty. Connie wanted to shut her family out because she felt as if they didn’t love her as much as her genuine sister June.
Regardless of her oppression she takes a stand and changes her fate. As a young woman she was crippled by the weight of the world. After her mother died she was overwhelmed by the task of bearing her stepfather's children and trying to protect her little sister Nettie. Her lack of confidence and self worth took a toll to the words and actions of her stepfather. Even after escaping her father she covered her mouth when she smiled because he
Dwayne then reacts badly to her comfort and points out the family’s flaws, causing Sheryl to retreat back to talk with the family again. Olive, (Abigail Breslin) is utilized in this scene to act in the supportive little sister role, easily conveyed to the viewer by her young and sweet nature, also being the only person bar Olive that Dwayne did not point out negatively as he insulted the family, helping Dwayne to calm down and realise that family comes first. The other characters, Richard (Greg Kinnear), and Frank (Steve Carrell) are the father and uncle in the scene, but they have a less important role. They are only present in the family conversation at the top of the hill, and do not contribute much to the scene, besides giving the scene the essence of ‘family values’ in the way of a group discussion about how to help