Marie-Claire Blais’s Mad Shadows explores the complex relationships within the dysfunctional family of Louise, her son Patrice, and her daughter Isabelle-Marie. Louise’s obsession with Patrice’s beauty causes Isabelle-Marie to be an outsider in her own family, which she cannot escape even as she gets married and has her own child, Anne, who strongly resembles Isabelle-Marie in circumstance and appearance. Mad Shadows incorporates a cycle of familial violence spurred on by jealousy and neglect; despite Isabelle-Marie’s attempts to break the cycle of violence in the final scene of the novel, her actions and destructive urges are already apparent in Anne, ensuring the continuation of violence in the family. Parental neglect in Mad Shadows is portrayed as one of the major ways violence passes from the abuser to the victim within the cycle of violence.
Toni Morrison's A Mercy, betrayal is an essential theme. It is betrayal that leads to the change in some character's personalities and behaviors. Florens' life is the outcome of two crucial betrayals, the first being from her own mother. At a young age she was agonized by the feeling of rejection, feeling as though she'd been "thrown away" by her mother. Fortunately, Lina treated her as her very own, taking good care of her, protecting her, and telling her stories. "
From the very beginning, Elizabeth Bennet (Lizzy) is opposed of Mr. Darcy because she believes they contrast. Despite Lizzy and Mr. Darcy’s beleifs about the other, they are more alike then they realize. Throughout the novel Lizzy clearly presented herself as an individual that was quick to judge, but she wasn’t the only one of doing so. Miss Bingley, Mr. Bingley’s sister, has come forth in the second ball of the novel to address what she has heard from Lizzy’s sister.
Non-western and Western texts have many differences and similarities in there writing styles, themes, characters, and the images they evoke in their stories. In the two stories, The Metamorphosis by Franz Kafka and “I Beg You, Brother: Do Not Die” by Yosano Akiko, both portray the theme of family relations and how two sisters share the possible loss of their brothers. The nonwestern text, “I Beg You, Brother: Do Not Die”, and the western text, The Metamorphosis, both present a female character who is faced with a tough situation in which their family is put through hard times and reveals the inner character of those in that family. The two young women, Yosano and Grete, share the pain in which they end up in a situation of the possibility
Munro has caught the complexities inside this sort of family bond by her utilization of third-individual portrayal and the moving of various tenses in the story. The story starts by promptly presenting both of the fundamental characters, Flo and Rose by describing how Flo entered Rose's life after her mom kicked the bucket. In doing as such the storyteller acquaints the peruser with Flo's identity in the perspective of Rose. Rose believes that Flo is dumb, despises her, and is simply down right irritating. The story advances by getting into the more profound issues that causes these two characters to detest each other.
They share sympathies with Electra in the incompetence with the plan. Notice that these female characters are considered on the good side being within the existing state of affairs. But Clytemnestra, who breaks out of status quo and chose retribution above misery, is labelled a power hungry liar, traitor, and a mother who must meet the end through her son’s blade. Although the household is run on familial blood debt, it is inevitable to sight the bonds between the remaining members of the household.
Women are consistently depicted as deceptive in Othello. For instance, when Cassio apologizes for kissing Emilia Iago’s wife, Iago starts to rant about women and remarks, “Come on, Come on.
As we move through the passage, we see Adriana shift her emotions of depression away from her husband and towards her naïve sister. Adriana becomes so enraged with her sister’s comments, that she refers to Luciana’s mentality as “servant like” (2.1.26). Since servants were treated as the lowest members of society, it is clear that Adriana feels as though Luciana is making a fool out of herself. Shakespeare portrays Luciana in a manner that would suggest that she is an expert on marriage, which is contradictory in itself as Luciana is not yet married. Her tone, while initially understanding and compassionate, quickly turns into one of arrogance and righteousness.
Antigone, one of the first female protagonists in literature, is considered a tragic heroine whose downfall is due to the tragic flaw of her devotion to her family and her obsession with burying her brother Polyneices. Unlike the traditional Ancient Greek woman, Antigone is outspoken and defiant; these characteristics are both admired and abhorred by other characters in the play. For example, while Haimon praises her ability to stand as a voice for the masses against Kreon’s absolute rule, Kreon sees her justice-driven actions as a resistance against his rule. Antigone’s characterization is emphasized by her foil, Ismene, whose quiet and obedient persona only emphasizes Antigone’s dissimilarity to the average woman. However, Antigone’s obsession with burying Polyneices stems from her desire to obey divine rule, an aspect that was considered imperative in Ancient Greek society.
This love can be identified in the relationships between the Capulets and Juliet, or Prince Escalus and Verona. It is obvious that the attitude Lady Capulet has towards Juliet is not tender love from a mother. “Nurse, give leave awhile; / We must talk in secret. Nurse, come back again. / I have rememb’red me; thou’s hear our counsel.”
In the play “Antigone” by Sophocles, the question of whether loyalties to family or loyalties to authority are more significant is brought up when personal matters are intertwined with legal affairs. Antigone is persecuted and punished severely by King Creon because she buried her brother, Polyneices, whom the king believes to be a traitor to the city and outlawed any burials or honor for the fallen man. In this situation, Antigone is right in going against the king’s law because in burying her dear brother, she honors the promise she made to him before he died, she pays respect to the laws of God and not the laws of mere mortals, and she shows her commitment to family by displaying her unwavering loyalty towards them, even in death. Antigone is right in crusading against Creon because in essence, he is unjustly punishing her in trying to punish her brother, Polyneices.
Why Both Parties are Wrong “Don’t fear for me. Set your own fate in order.” (lines 103). Is what Antigone said as she tried to calm her sister as she cried. While Antigone told her about burying their brother.
In Sophocles’ Greek tragedy Antigone, a woman’s individual conscience trumps state law when Antigone displays time and again that she values her divine motives higher than those of the state throughout the tragedy. Her continued defiance of the state’s authority marks the importance of her individuality through various scenes in Antigone. Knowing full well her role as a woman in a patriarchal society, Antigone goes beyond the powers of the common man to carry on morals of herself and family exceeding beyond immortality and death. Engulfed in the menacing misogyny King Creon set forth in the state, Antigone is determined to thrive and keep the sacred deeds of herself and family in tact despite the fate it bears. The character of Antigone exhibits
"Arrogance is weakness disguised as strength" -Annon. In the script "Antigone", Antigone breaks a conflicting law by burrying her brother. This makes Creon, the newly crowned king, furious, causing him to make "questionable" decisions. Antigone provides a foil to Creon's character; and Thor interactions advance the theme of how blinding arrogance leads to self-injury.
When people defend what they believe in or who they love that is sacrifice. In order to be certain that her two brothers she loved had a proper burial and that their souls could rest, Antigone sacrificed her life. Regardless of the potential outcome; even if that means that she was going to have to challenge her uncle (King Creon), she plans on pursuing her quest. Polynices and Eteocles killed each other in battle for control over Thebes, leaving the city to the new King, Creon Jocasta’s brother and Antigone’s uncle. Because of the actions that Polynices took during the war, Creon labels him a traitor and halts any burial process, leaving his body for the animals (222-234).