The first time Raskolnikov visits Sonia at her apartment, he is quite rude to her. After he murdered Lizaveta and Aliona, he became a miserable criminal, and that is what he labeled Sonia as. He said, “You live in this muck that you hate… Wouldn’t it have been better, a thousand times more ‘right’--and more clever, too--if you’d gone and jumped in the river and ended everything at once!” (315). Sonia thought many times of killing herself, so she understood his cruel suggestion. However, this may seem contradictory of the previous statement of his dependency on Sonia, but it appears this was Raskolnikov finding an outlet for the misery he created for himself, and Sonia knew that Raskolnikov was “terribly, infinitely unhappy” (321).
The settings are different in each version, but they contain the same main characters: Ana, and Dmitri. There are some many other characters in each story, but they are unimportant characters. The Dmitri’s description of Anna gives the impression that she may be egocentric and conceited. In Chekov’s version, Dmitri said: “she was a tall, erect woman with dark eyebrows, stately and dignified and, as she said of herself, intellectual.” Dmitri’s perception is crucial to understand his point of view, and sympathize with him. That is why the third person narrator is used in both versions.
The story is about the man named Velchaninov encountering another character, Pavel Pavlovich Trusotsky. Pavel Pavlovich is described as the gentleman with crape on his hat to Velchaninov, but later turned out to be one of his old acquaintances and the husband of Natalia Vassilievna, who was once Velchaninov’s lover. Pavel Pavlovich visited Velchaninov to tell him about the death of Natalia Vassilievna. Therefore, the relationship of those two characters is husband and lover of one lady. The object, if considered as Girard’s triangular mechanism, is Natalia Vassilievna; and the model and the mediator would be Pavel Pavlovich and Velchaninov.
In Anton Chekhov’s “The Lady with the Dog” the author talks about a love affair that takes place with two people who are unhappily married. Chekhov elaborates on their relationship and explains how, through one another, they both realize what it is like to truly love. However, despite that they realize that they want to be with one another they can’t show their relationship in public because they both have lives on the surface that everybody knows about. Lives that they can’t just leave behind because it has been a part of them for the longest time. Dmitri and Anna are two lost souls who have never really loved; however, in the company of each other they have attained an authentic intimacy.
In order to secure his own affection for Masha, Shvabrin is willing to feed off the dead body of Grinev. Pugachev’s resemblance to the eagle is demonstrated when “Pugachev growned darkly and waved a white handkerchief. Several Cossacks seized the old captain and dragged him to the gallows” (399). The murder of the Captain guarantees Pugachev’s rise to power is like the eagle drinking living blood ensures its good, but short, life. Pugachev and Grinev are alike in many ways, mostly because the eagle can be seen in both their characters.
Anton Chekhov, a seasoned writer, has written about many images in his stories. Two pieces of work, “The Cherry Orchard” and “The New Villa”, both tackle the same image, clothing. It is clothing that ties both of Chekhov’s works into one analysis on appearances versus realities. Realities and appearances appears in both the characters of Lopakhin, Dunyasha, and Yepikhodov and the peasants in “The New Villa”. All of them have falsified version of reality emphasised through Chekhov’s description of what they wear.
Usually, men are described as very loyal to their emotions, but in the play Twelfth Night, their image is reversed and their mind can be changed very easily. As soon as Orsino realizes that Cesario is actually a woman, Viola, he agrees to marry her immediately. Although before then, he was fully in love with another woman. The sudden mind change shows that Orsino maybe is not fond with Olivia at all, he just loves the idea of being in love with Olivia. Before Viola reveals the truth, she tries to show her affection towards Orsino.
Sonya went with Raskolnikov to Siberia and sent back updates to the people in St.Petersburg. We also learn that at the beginning of the trial Raskolnikov's mother feel ill. We also learn that Dunya and Razumikhin found a way the get the mother out of town so she would not find out about Raskolnikov. At the end of the first chapter of the epilogue we learn that Dunya and Razumikin got married with the blessing of
Ginny is portrayed as an unlikeable, dominant character and uses many acting choices to express her message about Asian-Americans and identity in racism—the idea that not all Asians are the same and each have their own distinct personality. Her use of body language and ensemble make her seem to be a dominant, know-it-all individual. For example, when she and Brian are conversing for the first time, she was cold and had a stuck-up attitude. Also, her use of vocal tones and mannerisms enhances the play by giving a more realistic impression to her character. In the scene when Ginny and Brian are in the bedroom, she pretends to be a stereotypical Asian-American to carry her point about identity to Brian and the audience.
Since the debut of Shakespeare’s world-renowned masterpiece The Tragedy of Othello, The Moor of Venice in 1604, the play has brought on an infinite array of ever-changing interpretations across time, nations and literary schools. The abundance of previous scholarship on this play provides a sound foundation for the proposal that contemporary review of it should no longer be grounded on the question of “aboutness” from singular perspectives; rather, it is the collective historical backgrounds of collective “about”s—the examination of how the world has perceived the play and how these interpretations came to be—that will fully shine light on the significance of Othello, and Shakespeare at large, both throughout history and in contemporary