Najmah is not feeling bonded with her family, so the author makes sure to show that the stars are being portrayed in a negative way. Whenever Najmah does not feel a bond with her family, the author shows this through the stars. (STEWE-2)When Mada-jan and Habib are buried, the author uses the stars to show the bond Najmah has lost with her family. “...I realize the hole where Akhtar has buried my hair also holds my mother and baby brother...But they are far, far behind us, and I realize I will never see them again. As the stars disappear one by one, Akhtar leads us away from the path…” (85).
Some people may rebuke that love had created them and was not made from hatred. Even if their parents were in love doesn’t mean that their children wouldn’t follow their footsteps because at the end it is that love actually starts the driving force of hatred. Later, Montague is speaking after the death of the star crossed lovers,”Alas, my liege, my wife is dead tonight! Grief of my son’s exile hath stopped her breath,” (Shakespeare, 5.3.232-234). This is the final death of the whole play causing 5 deaths in total because of the plague.
The Fault in our Stars Held prisoner by the cancer flooding her lungs with fluid Hazel has lost her ability to interact with people, Hazel is lost to her books and herself, feeling guilty. She is aware that there is nothing she did to cause the cancer but she only tries to decrease the pain she believes that she is somehow causing her family. She gives in to death and gives up rather than make a profound impact on the people around her. She begins to explain this as she narrates “Late in the winter of my seventeenth year, my mother decided I was depressed, presumably because I rarely left the house, spent quite a lot of time in bed, read the same book over and over, ate infrequently, and devoted quite a bit of my abundant free time thinking about death,” Green, p.78. She realizes that she spends precious time obsessing about death, she is wasting her life grieving about something she cannot control, predict or change.
Thus the Bundren family’s journey communicates the idea that one’s life cannot measured in length but in depth because one’s legacy will outlive one’s physical form from beyond the grave. The novel begins with Addie Bundren 's end. As she dies, she is surrounded by her family, for better or for worse. Her husband Anse, her daughter, and two of her four sons quietly watch over her like patient buzzards until suddenly “[her eyes] go out as though someone had leaned down and blown upon them” and all emotional hell breaks loose (Faulkner 48). Her daughter “flings herself” on to Addie dead body while her youngest son with “all color draining” flees the
Firstly, Hana is dealing with the grief of losing her father in the war while she was overseas being a nurse for other wounded soldiers. Her decisions are constantly influenced by her painful memories that she holds onto like her obsession with the English patient, her want to stay in a dangerous villa secluded and her falling in love with the patients. The patient reminds Hana of her father because he was also burned beyond recognition and Hana feels like she need to save this patients so she can feel better about not being near him
The poem “Daddy” is about a women whose father died when she was a very young age. She then goes on to saying that she killed him even though she didn’t. She tried to get back to her father even if he was died. She tried to commit suicide but every time she tried they stop her. She then goes to find someone else to replace her father in her life.
Louise falls to the ground and promptly dies of a heart attack while the supporting characters of the story maintain that she died of “joy that kills”. What is left to interpretation in the story is whether or not Louise ever did lay eyes on her living husband in the story at all. In many interpretations of the story critics say that Louise did see her husband and subsequently passed from the shock of seeing him
Moreover, sibling love is the fourth type of love shown in the play. Olivia expresses this love very clearly and is rather overstated as well because she wants to keep “A brother’s dead love, fresh “(1.1,31)” till seven years’ heat” (1,1,26 ). She is willing to mourn and bar herself from the rest of the world for seven years purely for a dead brother. Her grief is short, her vow is broken instantly upon meeting Cesario. Another pair of siblings in “Twelfth Night” are Sebastian and Viola who both think that the other is dead but “For saying so, there 's gold” clearly symbolises Viola having hope for Sebastian being alive.
In Chopin 's writing Desiree has a response of hopelessness as well as desperation. When Armand demands her leave from the plantation Desiree seeks her child and “disappears among the reeds and willows… and she did not come back again.” In her fit of sadness and helplessness Desiree kills herself and her son while on the contrary something 's quite different occurs in Dahl’s story. In Dahl’s story he goes in a different direction, making the reader feel the sense of anguish, anger, frustration, and strange return to normalcy the main character undergoes. For example, after committing the murder of her husband, Patrick, Mary acknowledges the fact that she has killed her husband; however, continues with what she was doing beforehand as if her husband who had died by her hand wasn 't lying dead on the floor. She thinks to herself “So I’ve killed him”, then proceeds to continue cooking “She carried the meat into the kitchen, put it into a pan, turned on the oven, and put the pan inside.” It is then evident that she was genuinely guilty and felt anguish as she arrived home from the store and found her husband “knelt down beside him, and began to cry… no acting was necessary.” These differences help reveal what the two very different things people could feel after any
Although she was not related to Hektor, Helen’s mourning speech served as a way of retelling her history, celebrating his life, and painting the final image of his legacy. Helen was the “third and last” (Iliad 24.761) to lament Hektor’s death. Andromache was the first, and she focused on how he deserted his family in his quest for bloody glory. Hekabe spoke second and remarked that Hektor, her favorite son, was now dead. Helen’s song of sorrow acted as a bridge between those two laments; she called attention to Hektor’s kindness and humanity as well as his lasting effect after his death.