While usually both characters dropping their gender-specific roles could turn out bad, in this story, dropping the stereotypical gender roles by blurring them leads to happiness by the end of the story. Both characters, venturing out of their gender roles, find ways to compliment and figure out who the other person really is, and, in the end, a burgeoning love fully blooms. When examining the gender roles of Mr. Rochester and Jane, both are a blend of each and life seems better when conventional gender roles are forgotten. In Rochester and Jane’s first meeting, the two begin to show their blended gender roles immediately. Rochester is first described as having a “dark face” with “stern features”, with a complexion that seems, “ireful and thwarted” (146).
In her writing, Jane Austen used literary techniques to display her character’s integrity, poise, grace and charm, or lack thereof. Throughout most of Austen’s works, a common theme is women and their behavior. In Emma, Jane Austen weaves a story between the differences of society through the actions of a young woman, Emma Woodhouse. The strongest literary technique in Jane Austen’s Emma is the use of a foil. According to LiteraryDevices.net, a foil is a character who embodies the qualities that are in contrast to the qualities of another character with the objective being to highlight the traits of the other character.
He is also a lover hero in his relationship with Penny. At the end of the film, he professed his love for her: “You are my favorite thing” (1:40). These words made Penny happy so much. Linda is a fallen hero when she was cheating on her husband through a long time. Karen is a fallen princess when she has an addiction with Dodge.
Cyrano hides his disappointment masterfully and again demonstrates an air of happiness and wit for the people, though his heart is broken by Roxane's devastating news. In Act III, Cyrano and Christian form a collusion to woo Roxane with Christian's looks and Cyrano's words. To Roxane, it appears as though Christian embodies both the curls and the wit. However, the reader, Cyrano, and Christian are all aware of the fact that her dream is not reality. The famous balcony scene in Act III exhibits this theme of appearance versus reality exquisitely.
Virginia is enlightened by these conversations because she wholeheartedly cares about the past, present, and future of the world, and she is aware of its impact on her life and destiny. In contrast to the Soul-mate who is dainty and frail, Virginia is almost godly in her physical and mental capacity. She does not hesitate to contradict Mr. Fteley who doubts her capability, “The world is full of leaden slugs like you … You hope that mountain climbers and acrobats fall, that daring bridges collapse” (243). This shows Virginia’s determination to be more than people expect her to be, and does so without feeling compelled to garner others’ approval. Her words imply imagery of acts humanly close to flying, and the act of going where others
Mr. Darcy excuses himself and states that "vanity is surely a weakness to be avoided, but that pride should be properly regulated for a proud man to have a superior mind (Austen,147). Elizabeth half ironically states that Mr. Darcy suffers from no defect. This interaction is a prime example of how both characters each still wear their pride and prejudices assumptions on their sleeves. Elizabeth's convection in herself causes Darcy to continue to view her in a different light. Elizabeth strives to maintain the independence of her mind, while other girls might have been at pains to humor Mr. Darcy and endorse whatever opinion he might have expressed.
Pride and Prejudice, by Jane Austen, contains various characters whose functions support main characters and qualities of the two traits: pride and prejudice. The characters less obviously supporting the traits and characters, are the secondary characters. These secondary characters play a major role in assisting the main characters to exemplify the characteristics and contradict the traits to show the opposing sides. In other words, there are main characters who use the traits, pride and prejudice in an excellent way and some use it in an appalling way. In the novel Pride and Prejudice, Jane Austen uses the secondary characters such as Charlotte Lucas and George Wickham to exemplify the characteristics of the title, pride and prejudice.
Emma and Elizabeth are special among other heroines as Emma is able to examine her own state of thinking of being in love to the realization she is not, and Elizabeth shows her own introspection in the process of thinking and re-thinking. Another important feature of Austen’s novels is heroine’s learning experience as a centre of the novel. From the studied literature, it follows that the learning experience leads to the problematic of ‘self’ which Austen’s fallible heroines deal throughout the novels. Jane Austen tried to explore mainly the fields of self-realization and self-knowledge, which means Emma and Elizabeth must overcome their mistakes to find what is right and only then they can reach the ‘self’ development. The first part of the thesis also showed the critical view on the heroines.
The novel is centred around the dichotomy between sense and sensibility and Austen conveys this distinction with the use of two sisters, Elinor and Marianne Dashwood. Elinor, the eldest of the two sisters represents sense as she possesses more responsible qualities such as restraint and reason. Marianne however contrasts completely as she represents sensibility within the narrative as her decisions are always fueled by her emotions. Critic George E. Haggerty discusses the contrast between the two female characters, “Marianne becomes the sullen guardian of her own emotions, while Elinor accepts the implications of "polite" society and soldiers on,” (221). Austen highlights the differences between Marianne and Elinor’s personalities when the sisters demonstrate their conflicted views on society at the beginning of the novel.
The endings are different and give very different endings and feelings of the book to the reader. The published ending better fits the novel because Pip and Estella mend their relationship which is a realistic ending, it is more satisfying, and it shows how Pip has fulfilled the bildungsroman genre of the book because he no longer loves Estella. In the published ending of Great Expectations, Pip and Estella mend their relationship because Estella indirectly apologizes to Pip and asks for forgiveness. Pip and Estella run into each other where the Satis House used to be. Estella says to Pip, “But you said to me, ‘God bless you, God forgive you!’ And if you