Although the question still remains, abundant evidence suggests that the governess is in some form of deranged state. The governess is insane because she is the only person to witness the ghosts, she has extreme fear and anxiety and she is overly devoted to protecting her charges which causes her paranoia. On the other hand, many people argue that the Governess is sane, however these claims can be disproven because of strong quotes and in-depth analytical support. In the end, it is quite clear that the governess is suffering from a mental
The parallelism highlights how her feelings were always changing and suggests that she was never in a comfortable state with herself, likely caused by her extreme emotional states. Dillard even describes herself as a “live wire”, a wire that’s considered dangerous because it contains electricity that provides power to other objects (144). Though she is considered as powerful and dangerous by others, she was actually rendering herself into a powerless position as she shot out sparks “that were digging a pit … and [she] was sinking into that pit” (144). This is irony adds to how convoluted she becomes because of her emotional extremes and shows how society wasn’t helping her situation; rather, it was only
This disconnect is further highlighted when it is noted that “the three women fidgeted and looked nervously at the empty mud-coloured walls” as soon as Montag unplugged the parlour, indicating that although the trio are friends, they do not know how to communicate with one another. The extend of this disconnect is revealed when Montag recites the poem “Dover Beach”, to which Mrs Phelps starts “sobbing uncontrollably”, exposing an inner sadness and depth to her character much like Mildred. Although a multitude of characters are presented as sad and shallow, Bradbury has demonstrated that those who transcend the expectations of
Katharina’s monologue in Act 5 has been interpreted in various and often drastically different ways that might cause the modern reader to either cringe at the misogynistic ‘taming,’ or to smile at the irony. However, I think there is some honesty in her speech despite the uncharacteristic words that Katharina chooses to use. She begins her speech by speaking from experience, that “to wound” “confounds thy fame” (5.2.139, 141). Katharina had, as shown in 1.1, the reputation of being “stark mad or wonderful froward” (1.1.69), one that she definitely does not enjoy, causing her to withdraw into herself and in turn lash out even more at others like an abused animal. She continues that her anger makes her unpleasant but her word choice of “mov’d”
Instead, she goes to these antisocial behavioral patterns. Her mental insecurity is something that controls her so much that she stops doing every single thing she’s ever loved, and ruins all of her closest
(She cannot speak.) Or is it now that you lie?” (Miller 189). Mary Warren is upset that she is being accused of lying because Abigail didn’t confirm her statement. Now that she is being accused of lying, she will most likely be mad at Abigail in the future, threatening their relationship. Lying can often
The haunting of the death swallows her damaging her ability to move on, she is unable to fulfil sexual desires, act as a loving and caring mother. Depression had taken over her being. Sam understands what has happened, he understands and explains that he knows she does not and cannot love him because her severe depression hinders her abilities. He explains that because she has allowed the depression to control her she has the power to overcome it, and she must. The Babadook is a metaphorical object used to express depression, a mild to severe mental illness that surrounds the people of the world daily.
behind her mask of kindness and perfection, Neferet is, in reality, a cold, evil, and calculating person. She is very careful to be secretive and to hide her true emotions. She has a deep hatred of humans that is probably a result of the abuse she suffered as a child. Neferet also seems to lose her temper many times as the books go on. She tries to control and manipulate people, especially Kalona and
Wright’s treatment as a woman and her isolation bring her point the point of depression; her marriage only makes her grow continually gloomier, to the point where she was in such a deep melancholy that nothing could pull her out. During the time period in which Trifles was written, mental illness was not seen the same way as it is today. In that time, there was no medication for depression, and people with psychological disorders were just written off as crazy. Despite this, Glaspell showcases Mrs. Wright’s mental issues in Trifles by showcasing what she was like before her marriage caused her to become depressed: “Susan Glaspell’s Trifles concerns a woman who was once young, pretty, and outgoing until she found herself in a loveless marriage with a stern, anti-social farmer… She tried to fend off her depression with bits of gaiety—brightly colored quilting and a caged songbird—but when her husband, in a sudden act of aggression, broke the cage and killed the bird and its singing, she was driven over the edge.” (Glenn
She started in my mind as a fearsome figure, and ended as the same, but in between as she explained herself to Jane: Bertha was nothing more than a woman abandoned by her unnamed husband (Rochester). The figure and the lady was representational of the Two Faces seen by Bertha. The hardest part of writing the story was creating the emotions Jane was feeling. I worried adding too much emotion would be untrue to Jane’s character since she was often plain and controlled, with only moment of outbursts or profound disobedience. The way I overcame this difficulty was referring to the voice and emotions she exhibited during her time in the red room.