What makes this even more a source of horror, is the change not only in language but also the content of that language, in particular sexual speech. The first mention of this is when the doctors says: “She advised me to keep my goddamn fingers away from her cunt.”6 Then the highlight of this change is when she masturbates with a crucifix, telling her own mother to “lick” her.7 This becomes a horror as it destroys the image of the innocent child. Her vulgar language, actions and knowledge of sexuality, are the opposite of what she knew before and what is expected of a girl her age. Cynthia Freeland points out that 'horror involves severe violation of our sense of moral...order '8 which can be applied to this situation. In addition, there is also the image of the pure, innocent female that is destroyed.
In Macbeth, Wuthering Heights, and My Last Duchess, the writers present themes of destructive love between the lovers through the desires of female characters. Therefore in this research paper there will be evidence explaining how destructive love is shown through emotional abuse, mind games, and physical abuse from the female characters towards the males. In the imaginative writings what do the women do to emotionally defile their men? “Nor time, nor place, did then adhere, and yet you would make both: they have made themselves, and that their fitness now does unmake you.”(Macbeth 1.7.51-54) In that statement made by Lady Macbeth, it shows one of the ways she is emotionally damaging her husband. Another example is “I have given suck, and you know how tender ‘tis to love the babe that milks me; I would, while it was smiling in my face, have pluck’d nipple from his boneless gums, and dash’d the brains out.”(Macbeth 1.7.54-58) in which Lady Macbeth emotionally ruins him by talking about physically harming their baby boy.
In the beginning of both stories, the protagonists are illustrated as sensitive and perhaps weak. It is clear in Hemingway’s, The Girl is dependent on The American, countlessly considering abortion in order for things to ‘be like they were’, although by doing so she disregards her own beliefs completely. Munro’s Janet may not seem as childish as Hemingway’s protagonist, however, she lets society -especially the approval of her father- defines her self-worth. The plot then develops by introducing the probable foreshadowing of “death”. This causes an emotional strain for the protagonist, thus fuelling her towards this quest of self-realisation.
Kaylen Simmons Mr. Andrew Harris English 3 Block 5 5 February 2015 The Defective Conception of Pearl In the very intriguing novel The Scarlet Letter by Nathaniel Hawthorne, Pearl Prynne is a very strange child. Yet by the end of the book, she seems to have gone on to lead a normal life. She is very incompatible with the rest of the children her age. She is out of harmony with the other children for a few reasons: one reason is that she inherited all of her mother 's passion during conception. Another reason is that a great law is broken the moment she is conceived.
As Alicia Ostriker writes, the flesh in Catholicism was seen “corrupt and corruptible; it is inherently sinful and inherently subject to change and death” (qtd. in González-Arias, “Foodless, Curveless, Sinless: Reading the Female Body in Eavan Boland’s ‘Anorexic’”). This alludes to the medieval nuns, which has been examined by Rudolph Bell in Holy Anorexia, whose starvation was a way to reject and broke free from the women’s sinful nature (qtd. in González-Arias, “‘The Famine of the 90s’: Female Starvation and Religious Thought in Leanne O’Sullivan’s Waiting for My Clothes” 53). Although the term “anorexia nervosa” has been used quite recently in medicine, female starvation could be found even in the first-century Rome, where women rejected food to break free from the traditional patriarchy-formed roles of mothers (González-Arias, “‘The Famine of the 90s’: Female Starvation and Religious Thought in Leanne O’Sullivan’s Waiting for My Clothes” 51).
Oh take pity, child, before this breast where many a time, a drowsing baby, you would feed and with soft gums sucked in the milk that made you strong.” This makes Orestes hesitate and reflect on whether or not he should kill his mother. Then we see how much of a liar she is when she cries,” I raised you when you were little. May I grow old with you?” The reader knows she did not raise him, Cilissa, his nurse, did. Finally, in The Eumenides we are shown how vengeful Clytemnestra is. At the start of the play she speaks harshly to the Furies because they are asleep and tells them to “wither him [Orestes] in your wind,after him, hunt him down once more, and shrivel him in your vitals’ heat and flame.” Even in death she can’t let her grudges go, even against her own kin.
In line 13, the rhetorical question “Who mourns one woman in a holocaust?”, is the employment of a persuasive tone which emphasizes Lot’s wife 's importance to her. The tense changes from past to present tense in the last stanza makes Lot’s wife’s situation more relevant and invokes more empathy. In line 16 the lexis “steal” brings to light how she is viewed as a criminal simply by acting out of her humanity. The entire poem is a quatrain and is in a rigid form to emulate the conditions of strictness Lot’s wife experienced. Lot’s wife is villainized due to acting out of emotion and her death is so unnoticed that it motivates Anna to mourn for Lot’s wife herself, which is asserted by “yet in my heart she will never be
Abstract: Both the authors George Eliot and Sam Shepard have created women characters with certain flaws in them. Though centuries apart, their characters especially women have displayed some immoral act that has brought shame to their families and the society. Hetty Sorrel in Adam Bede ends up committing the act of infanticide due to immaturity and lack of guidance while on the other hand Halie in Buried Child is a modern woman who enters into an incestuous act with her son, that results in the murder of the infant that had been just born. Eliot has embodied the personality of Hetty born out of a chasm of insignificance to a place of significance with the aid of an unlawful relation with someone of a superior rank. Hetty eventually gains maturity at the time of her pregnancy.
To begin with, Hamlet says “Fraility thy name is woman!” (1.2.l.146) as he talks about his mother. This means that women are weak and he is projecting his feminine characteristics as his weakness. Secondly, Hamlet refers to his mother as whore as he say “dexterity to incestuous sheets” (1.2.l.157) as she marries his uncle too soon and sleeps with him. This coveys the message that Hamlet does not have any respect for her, which is the same way how he feels about his anima as it makes him overthink situations and not take action. Lastly, Hamlet lashes out on his mother saying “In the rank sweat of an enseamed bed, Stewed in corruption, honey and making love Over the nasty sty” (3.4.93-95).
Her story credentials the collapse of the body of marriage to guard women in a way of life which is supported on an impression of women 's addiction on the male mask. It also foregrounds the disappointment of the authorized alterations on polygamy and divorce laws to authorize women within the accessible socio-cultural and ideological stipulation of any community. Finally, Aparpokkho employs the female body and the maternal womb (of Jamuna) as a site of contestation and confront to the system of patrilineal descent which categorizes system of patriarchy in any state or a country. Through changing the womb into a subject mark, Taslima opens the initial root of male