The Vitrola records which give background music to Laura’s fragile and beautiful world are her father’s legacy.” ( Greiff 2). Her obsessive playing of these records conveys an internal madness and separation anxiety left behind by her father. Through these elements, the familial
Yet when analyzing her actions deeper, one discovers that Hermia is a strong character who displays honorable and respectable traits. For example, Hermia defends her thoughts about her love to Lysander by confronting those who have greater power than she does. Furthermore, after determining that she would rather remain unmarried than be with someone who she does not truly love, Hermia boldly decides to run away with Lysander. Even when Robin casts a spell on Lysander that confuses him about who he loves, Hermia works to convince him of the love they share and fearlessly confronts her childhood friend Helena about the situation. Hermia’s willingness to fully realize her ultimate desire requires fortitude, strength, and an ability to decipher when actions are not suitable to character.
Ingsoc as a totalitarian ideology Introduction George Orwell’s classic 1984 written in the year 1949 tells the story of a dystopian society under a totalitarian regime. The novel is set in Airstrip One, formerly known as Great Britain, which is a province of the super-state called Oceania. The throne of power is epitomized by Big Brother, the quasi-divine cult leader who is at the same time infallible as well as invisible. Orwell in 1984 depicts a dystopia which is riddled by perpetual wars, omnipresent government surveillance, manipulation and historical revisionism. The crux of all dystopian elements in 1984 is the political ideology practiced in Oceania called Ingsoc.
But the poet claims she is not noble and not complex. She is definitely not ashamed about this, because of the fact that her sexuality was a great inspiration for her poetry. This is also a reason why she addresses her sonnet to ‘almighty Sex’. Brittin (1982) holds the view that ‘I too beneath your moon, almighty Sex’ is “a defiant sonnet asserting that her work is absolutely sincere, ‘wrought from what I had to build with,’ coming out of her far from perfect self and including lust ‘and nights not spent alone’.” To conclude, it is possible to state that in ‘I too beneath your moon, almighty Sex’ Edna St. Vincent Millay expresses her sense of pride about her poetry
Using psychological manipulation and fear through war, falsehoods, and torture, Big Brother retains absolute control over one’s thoughts and actions, and thus strips the individual of humanity. Although the society illustrated in George Orwell’s novel seems implausible, Orwell aimed to reflect certain aspects of the time period in which he lived and warn readers of the impending future he foresaw. The rise of tyrannical governments during the 1940s, such as Hitler in Germany and Stalin in Russia, fueled Orwell’s paranoia and thus resulted in Big Brother, the representation of totalitarian government he predicted could arise. This, along with the seemingly constant warfare and the inherent loss of highly valued democratic ideals provoked Orwell’s allegory as a way to warn the general public. As a result of the communist and fascist dictatorships of Orwell’s time, 1984 sought to reflect the tactics of manipulation, fear, and stripping one’s individuality employed to control the population by illustrating the principal theme of totalitarianism.
Ismene is stuck in between choosing what is right and what is dishonoring/wrong; the right choice would be to follow the divine law, their gods law, or follow Creon’s law that goes against the gods’. Creon’s man law also proves that his tragic flaw was hubris; his excessive pride and belief that his power was unlimited caused a series of events that led to his tragic downfall. The theme of gender roles, especially the “place” of women, is very limited. “Burying and mourning their dead relatives gave women an opportunity to do something important for their families. It brought women to the fore and gave them a role to play” (67), this quote is proving that a Creon is limiting one of the few things women were allowed to at the time of their society, which was for Antigone to bury Polynices.
In similar ways, both Norma and Lear construct a false reality that is salubrious to their madness. Norma shuts the doors of her gargantuan mansion to the outside world and lives in the glory of her past. King Lear decides to let his daughters bide for his love in order to encourage his ego. Of course, every action has an equal and opposite reaction. These decisions led to seclusion from society and the ones they loved.
When Tori Amos mentions “Veronica’s America” she refers to one that judges people based on face value, one where people are cruel and love is a pipe dream. Like Ophelia, Veronica has chosen relationships with the wrong people, leaving her cynical and jaded. She does not believe that love is worth the pain it causes. Tori compares this view of the world to “Charlotte’s America”; while the character of Charlotte is rather ambiguous, Amos speaks of it as if it were full of “cosmic flavor”, a direct reference to one of her other songs “Flavor”, a song about the divine aspects of love. Even though love is difficult, it is worth every struggle because of the happiness that true love can create for someone.
I don’t tell the truth, I tell what ought to be truth. And if that is sinful, then let me be damned for it!” Blanches magic is seen through her illusions and delusions. In Blanches world Mitch doesn’t fit however she has reached a point of intimacy by being honest about her first husband and the guilt she endures as she begins to share the painful moment of her life with him. Stanley’s intrusion ruins her plans of marriage with Mitch and yet again she had to retreat in the world of her delusions. Stanley who represents realism in this novel and play pops Blanche’s illusion bubble through seeing the realism in scene ten he says: “not once did you pull any wool over this boy’s eyes!” Not only Stanley had broken her world of illusion, but also Mitch who is influenced by Stanley and destroys the protection of darkness by exposing her to the bright light.
Would it not grieve a woman to be overmastered with a piece of valiant dust? To make an account of her life to a clod of wayward marl? No, uncle, I’ll none. Adam’s sons are my brethren, and truly I hold it a sin to match in my kindred.” (Shakespeare, “Much Ado” Act 2, Scene 1). Beatrice not only stands out as a character in Much Ado but in all of Shakespeare's plays because she is unrestricted by the expectation of her gender, especially, considering the time period.