She dares to challenge the arrogant tyrant Creon by expressing her points bravely and furiously, trying to warn him that women do not always have the obligation to do what men command; she dares to protest the balance between duty and law, “…for it was not Zeus made such a law; such is not the Justice of the gods.” (Antigone), making her decisions in an equitable way and promise to find the real justice so as to give respect to her brother, Polyneices’ burial. Even though in the end Creon tries to give Antigone a lesson by putting her to prison, Antigone did not escape, for she understood that her action and pride would bring about these consequences, and she did not regret for doing this. In addition, we can also observe women power by seeing Creon’s words and behaviors. Creon’s hubris as a men affects how he thinks about women, he considered women as secondary creature.
Penelope proves herself to be a “mistress of her own heart” by (1) exercising commitment and loyalty to her departed love and (2) employing deceit and pity to manipulate her suitors, buying her time to remain independent from men other than Odysseus although she fears for the possibility of never reuniting with Odysseus and faces constant temptations from the suitors. To be a “mistress of her own heart” means that she is in control of her emotions. Penelope controls her emotions by remaining loyal to Odysseus, despite the many challenges presented to her. Penelope exercises commitment and loyalty to Odysseus by demanding the respect for Odysseus and his counterparts and being skeptical of his return.
Although they view each other as equals, "my dearest partner of greatness," it's Lady Macbeth who is established as the dominant partner in the dynamic, inverting typical 17th century gender and social roles. (Since husbands were supposed to rule their wives in the same way that kings ruled countries, Lady Macbeth's plan is just another version of treason: taking power that doesn't belong to her.) Upon reading the letter, she worries that Macbeth is too kind-natured to be able to take the crown and is determined to assist him through the, "valour of her (my) tongue." She emasculates Macbeth and challenges his bravery, which to him is the essence of a being a man, "coward." Compelling her husband by giving him an ultimatum, be a coward or kill the king.
First, Bertilak’s wife coerces Gawain to abide by courtly love in a conversation where she argues, “‘He’d never stayed so long with a lady and left her unkissed: courtesy cries out Against him! Surely some sly word was missing. ’’Your pleasure is my command, Lady: I kiss as you wish, as a good knight Must. Ask me only once.’” (Line 1299-1304) which is ironic
Aleyn reduces her value, making her an undesirable woman for marriage since chastity is desired more than an experienced woman. Afterwards, Symkyn is punished by the wife and two scholars because he fails to control his women and is inevitably isolated with manhood. Unluckily, Symkyn cannot withhold social statuses or break down social barriers since he cannot maintain authority. John and Aleyn are worshipped in the tale, because they were able to hold their power, despite their lesser
Contrary to popular belief, Lady Macbeth is not an evil character. She is simply a misguided woman who is extremely determined to have her way. Although she took a lot of wrong turns, she did realize in the end that what she did was horrifically wrong. Lady Macbeth was not a bad person, She only wishes greatness for her husband and also wants to be part of his greatness, though she does let her guilt get to her in the end. During the play, Lady Macbeth only wanted to help her husband achieve greatness- even if it meant she would have to murder some people.
Desdemona is the rest of the characters to survey, in any case she is in like manner the most basic. Desdemona is managed outlandishly in light of the way that she is a tried and true wife, who appreciates her mate specifically. Regardless, through the help of Iago, her companion, and Othello suspects Desdemona is undermining him. This is not substantial, yet rather still Othello believes his partner much sooner than he would listen to the woman who loves him. Othello then, as opposed to treating Desdemona conventionally thusly for her love, battles with and mocks her.
The main goal of this novel was to bring light to many different social issues. One being that women should be and are typically frail beings, scared to voice their opinions, is completely thrown out with Austen's powerful main character Elizabeth. In writing a controversial love story, that brings together two unlikely individuals from completely diverse backgrounds and social status, shows how Austen believes that society should remove the heavy importance that social economic status weighs to each member of society. Another main message is the more obvious fact that people should marry for love and pay no mind to social status and the pride it brings. The development of Elizabeth and Darcy essentially strengthens her view points.
Both Kalyani and Shripati are forced into a loveless marriage by her. It is a clear dig at the conservative society where marriage and son are the only things that matter. Through the portrayal of the second generation pair, Kalyani and Shripati, Deshpande depicts the predicament of women who are confined in the framework of traditional marriage and lead a life of self-denial and suffering. Kalyani’s life is an example of forced incompatible arranged marriage in which a woman has to suffer endlessly. Even if marriage fails in giving happiness of any kind to woman, it is preferred because it gives a security and a sense of dignity to woman in society.
Collin’s. He describes how blinded he is by such strong compassion for the woman and is solely acting on emotion. In his proposal, he narrows his focus on the benefits of marriage as he states that his reputation would shield hers and that although she could draw him towards any exposure and disgrace, she could also lead him towards “any good and every good” because that is how much her presence impacts him on a more personal level. Unlike how Mr. Collins was encouraged by Lady Catherine de Bourgh’s desire for him to marry, Bradley Headstone seems to act only by his emotions and by his perception of how strong a love he holds for this woman that he is addressing. When he says “if you saw me at my work, able to do it well and respected in it, you might even come to take a sort of pride in me…” he presents himself as strong-willed, stable, and someone of good reputation.
(_Antigone). Even when compared with the dishonorable deaths of her family members, Ismene believes that going against the will of a monarch is worse. Ismene is the polar opposite of Antigone, she is complacent and law abiding where Antigone defies the law in accordance with her own values. This has taught her that she and Antigone are “weak women, [...], Not framed by nature to contend with men” (_Antigone). As the case of Ismene shows, faith in law, and the following the societal expectations, creates someone who is largely complacent.
The grandmother insincerely calls the misfit a good man because she simply would do anything to survive, even if that means lying. She does it because she doesn’t care about anyone but herself. She completely disregards her own son 's life in favor of her own. The Grandmother in "A good Man is Hard to Find seems to only care about herself. She constantly portrays herself as a saint and points out that nobody can measure to her standards.
We’ve questioned whether or not there’s a lingering jealousy between the two. Supporting this roughness, we’ve chosen to have Bianca portrayed as someone who is faking her innocence. We gathered this idea from the way she is almost unrealistically submissive and gentle up until the last scene, where she no longer needs to hide behind a mask because she has already been married. In the final scene, we meet a Bianca unafraid to speak her mind, calling her sister’s obedience a “foolish duty” and dismissing her husband as a “fool” for betting on her own tameness (5.2.139,143). Perhaps Katherine has always been able to see past this facade, and is irritated further when Bianca gets away with it.
In Act 3 Scene 1, Beatrice is overwhelmed with the thought of people judging her proud and scornful ways. Beatrice addresses this revolution by agreeing to leave her past self behind and seal this newfound affection with Benedick. Beatrice’s view of rejecting a man who will rule her with an iron fist is quite independent. In this case, Shakespeare’s Much Ado About Nothing suggests Beatrice was once in love with Benedick, but his title of lord and soldier of Padua negatively effected their relationship.