The Sea And Music In Kate Chopin's The Awakening

While there, Edna begins learning to swim, and as she learns to control the water she in turn discovers that she has agency over her own body. When she comes back from the island, this new outlook on life clashes with her husband’s old world values, and he endeavors to stop what he sees as utter madness. At one point, a family doctor recommends to Léonce that Edna spend time at her ancestral home, far away from the water, to return her behavior to what he knows as normal. Edna expresses a dislike of and actively avoids certain parts of society, but cannot fully separate herself from the motherly duties forced onto her by traditional gender roles, unlike her muse Mademoiselle Reisz. These duties, ultimately, prove to be the fetters that cause Edna to sink downward, and lead her to end her life in the same ocean where it truly

Edna strays far from land and although she is frightened at first, she discovers a feeling she has never felt before: freedom. “A feeling of exultation overtook her, as if some power of significant import had been given her to control the working of her body and her soul” (27). For the first time, she challenges herself, and she is able to do something she was not able to previously do. Learning to swim is Edna’s first step in her journey to challenge and defy society. The cover of the novel is effective because the picture of Edna emerged in water alludes to the fact that she is connected to the sea and finds her awakening in the

Esther Greenwood- magazine editor by conformity, yet secretly suicidal by choice. She is the first seen victim of caving in to what she thinks she must act like within Plath’s novel. There are many highlight moments to depict how everyone, in a way, is just like Esther- hiding yet seemingly unafraid. From the beginning, we are told that she’s surrounded by popular, beautiful women and as far as we can infer, she had the dream job as an editor. However, we also find out that she hasn’t been happy since the age of nine and has attempted suicide on multiple accounts.

Lady Macbeth’s character undergoes a complete personality transformation by Act V. The anxiety she had always feared is enhanced as she sleepwalks and guiltily relives her actions. “Out, damned spot, out, I say!...Yet who would have the old man to have so much blood in him” (Act V, i, 25-30). Through her death, Shakespeare enhances his philosophy that she utilized her free will to make negative decision which led to a guilt-filled fate. Macbeth’s character had built up an arrogant personality because of Hecate’s and the other witches’ prophecies. “Bring me no more reports.

The suicide of her husband has a lasting impact on her outlook on life as she places the blame on herself, causing her to become reluctant about letting go. She develops a great dependency on others and their opinions, as she wants to be wanted and acknowledged for her beauty, which is ever fading. The event continues to haunt her

It was like honey, and her song like a drug. It trapped you, pulling you deeper and deeper into its clutches until you were lost, swept away as easily as foam on the waves. She sat atop a solitary cliff, luring innocent sailors and beggars and princes alike, captivating their helpless mortal bodies before crushing them without a word, feeding off of their very souls without a touch of remorse. And for decades, millennia even, she existed like this, manipulating and killing

Ophelia and Hamlet were in love which in turn made it burdensome for her to forgive him for killing her father. Similarly to Hamlet, Ophelia went “mad” when her father was killed. Specifically, Gertrude said, “Her clothes spread wide, And, mermaid-like awhile they bore her up, Which time she chanted snatches of old lauds, As one incapable of her own distress Or like a creature native and endued Unto that element” (Hamlet 4.7.172-175). Ophelia had to be bored up because she couldn’t handle the distress that she was feeling. Ophelia’s madness was easily seen with her actions and appearance.

Within her poem, she writes, “At twenty I tried to die/ And get back, back, back to you.” The personal reference to her suicide attempt and the explanation supported, exposes the readers into the trauma she faced and what led to her tragic attempt at death. Repeatedly mentioning the word “back” shows how deeply she longs to be with her father and it has caused her to feel suicidal. The repetition enhances her pleading as a way of escaping the dark

“A Rose for Emily” is a dark, suspenseful Gothic tale in which a young girl is put on a pedestal by a town who sees her as haughty and scornful. Miss Emily Grierson’s father controls her and her love life, pushing away all people until he dies and Emily is left alone. As her life goes on the townspeople watch her and judge Emily, almost turning her life into a spectacle to be talked about. At her death, a gruesome sight is unfolded when her lover of over forty years ago is found decomposed in her upstairs room. William Faulkner effectively builds epic suspense in “A Rose for Emily” by the unchronological order of the story, the treatment of Emily’s father towards her, and her family’s history of mental illness.

Her agonizing fall climaxes as Mrs. Hale realizes that “She was going to bury it (the canary) in that pretty box” (Glaspell 16), uncovering a motive for the killing of her husband. The respective protagonists were also driven into madness by their husbands and a lack of support from their friends. With the narrator of “The Yellow Wallpaper,” her husband as well as her husband’s sister were simply ignorant to her pleas for help. Minnie Wright, on the other hand, suffered from a mentally and physically abusive relationship and a lack of support from any friends at all. Despite the commonplace of men in powerful positions in each story, they are both considered feminist works as women are given a larger role and have better ideas than