Brabantio, now questioning his daughter’s loyalty, spoke “If she confess that she was half the wooer, destruction on… [Brabantio’s] head if… [his] bad blame light on the man”. Desdemona, the woman herself, was then called forth. With a straight back and set eyes, Desdemona said to her father “... [she is] hitherto your daughter. But here’s my husband”. Brabantio shook from the sting of betrayal and his mountain of anger.
During Myrtle and Tom’s argument, he breaks her nose for the sole purpose of sending her the message that as long as she continues to have an affair with him, her feminine power will not be tolerated by him. Myrtle is accustomed to living an underprivileged life where feminine power engulfs her, but Tom is too egotistical to allow Myrtle to speak with such authority to him. Similarly, Gatsby’s need for assurance from Daisy pressures her into revealing to Tom that she never loved him (Fitzgerald 132). Deep down, Daisy knows that she truly did love Tom once, but Gatsby’s assertiveness and persistence drives her over the edge to telling Tom that what the two of them shared meant nothing to her. Daisy’s attribute of being a pushover is revealed immensely because she refuses to stand up for herself.
His movie adaptation differs from other adaptations mainly because it is based on Stoker 's novel only. "All screen versions of novels are transpositions in the senses that they take a text from one genre and deliver it to new audiences by means of the aesthetic conventions of an entirely different generic process [here novel into a film] (Sanders 20). Coppola alters the personalities of Stoker 's characters. Consequently, although the movie is based on the gothic novel, Coppola focuses the story on the quest for love and describes the Count as a romantic protagonist who tries to riunificate with his Elisabeta, in this case Mina, and with that fact the director calls for the sympathy of the audience. In addition, the Jonathan and Mina 's relationship is less passionate and threatened by Count 's attempts to seduce Mina.
Her internal struggle is revealed in this instant when her hedonistic desires cause her to feel conflicted. Mrs. Buchanan tends to act extremely selfish, especially during the moments when she cannot resist the temptation of hedonism. When Daisy impatiently awaits Gatsby’s return from war, “there [is] a quality of nervous despair in [her] letters” (151). Daisy’s egocentric nature ultimately causes her to believe that the world revolves around herself. Her tragic downfall is made clear when she decides to marry Mr. Buchanan and pursue old wealth.
Since the eighteenth century, Gothic writers have been using strategies in their writings to make supernatural accounts seem imaginable and not entirely false. Some of these strategies include darkness, intricate or secret passages, and abandoned or isolated buildings. The environments in which stories take place are critical to Gothic literature because they distinguish Gothic from any other type of writings. Architectural environments in Gothic writings have allowed for plot development and are the pinnacle of this style of writing. They help further the plot by adding essential features that are needed in order to make the stories more realistic and imaginable.
The speaker 's relationship with her father contradicts the close father-daughter bond common in most family settings. She regards him with hatred and fear as one would a totalitarian dictator, not a loving father whom she adores. There exists, for lack of a better term, immense conflict between this childish, puerile speaker and the father whom governs her every thought. She emphasizes this conflict through the use of numerous allusions, intended to bring about a clear notion of exactly how poorly she was treated by her father. Although there exists varying interpretations of the poems metaphors, the allusions to war torn Germany, vampirism, popular nursery rhymes, as well as Greek architecture are unmistakable and are included by the speaker to parallel her own experiences and conflicts with her father.
Abigail’s jealousy is what ultimately drives her to the edge of reason. Abigail’s intense jealousy is exemplified in Act II lines 162-168 when John and Elizabeth are discussing the situation.“It is her dearest hope, I know it. There be a thousand names; why does she call mine? There be a certain danger in calling such a name—I am no Goody Good that sleeps in ditches, nor Osburn, drunk and half-witted. She’d dare not call out such a farmer’s wife but there be monstrous profit in it.
Introduction: When people feel that they can freely express their frustrations, and feel that they are unpleased with an opinion from a government or kingdom. These types of people (such as Romeo) will often feel an uncontrolled urge to take matters into their own hands. And this will lead up to finding them in an act of defiance. Additionally, this is what makes our main heroine Romeo defies his family (or house) and marries Juliet without their acknowledgment. Body paragraphs: Romeo has a strong desire to help end the family feud, Romeo’s strong will to go against the house Capulet and marry Juliet.
The Ill-Mannered Shrew In the comedy, The Taming of the Shrew, by William Shakespeare, the protagonist Katherine, a stubborn, ill-mannered women, does not follow the directions of anyone. The word “Shrew” in the title of the play represents Katherine because someone needs to tame her. Katherine does not illustrate saintly behavior in the comedy because she degrades and insults all of the men she encounters, continues to disobey her father, and bickers with her sister to the extent of harm. In the beginning of the play Katherine seems to think that the men want to marry her. She thinks that they have come to see her and she insults them by saying to her father “I pray you sir, is it your will to make a stale of me amongst these mates?” (Taming of the Shrew 1.1.57-58).
When he hears of his mother’s remarrying, Hamlet becomes infuriated by the, “Incest” which has taken over the throne. He explicates this statement by speaking, “She married. O, most wicked speed, to post with such dexterity to incestuous sheets! It is not, nor it cannot, come to good. But break, my heart; for I must hold my tongue.” (1:2 Lines 161-164) Hamlet becomes frustrated for the fact that he may not say anything negative about the marriage of the queen, his mother, no matter how much he disapproves.