Wright, but the women are the ones who find the signs. While the men are in the house they are looking for anything that is out of place, try to find noticeable evidence that would have caused Minnie to be furious or angered her to kill Mr. Wright. The men perceptions does not let them know that their wives could help them and give them understanding of what has taken place at the Wright’s farmhouse because they are women. The only reason they brought their wives along is to gather Mrs. Wright belongings, the men think the women are pointlessly absent-minded with meaningless things and do not think they are smart enough to make an impact on the investigation, when Mr. hale makes an insulting remark: “would they know a clue if they come upon it. (Susan Glaspell) Fatefully, the women find the evidence to the murder of Mr.
The reader feels angry again when Spunk says, “‘doan give up whut’s yours, but when youse inside don’t forgit youse mine, an’ let no other man git outa his place wid you!”. Spunk treats Lena as property and not a human being, this makes the reader angry. Hurston uses dramatic irony and regional dialect as language devices in the story. The first language device Hurston uses is regional dialect. When a newcomer comes to the store he says, “Gimme some soda-water.
Although they were married, Joe and Janie never had a strikingly obvious intimate relationship. Joe was a bad husband. Joe treated Janie bad because of how beautiful she was. After the shop was built Joe made Janie work in there just so he could look at her, even though she hated it. And again later in the story Joe made Janie feel bad about her looks by making her wear something to conceal her hair while she was in the store.
Men are unable to function in the extremely high pressure situations that women try to put them in, such as helping out in the kitchen or cleaning the house. In “Lost in the Kitchen” by Dave Barry, these incapabilities are highlighted and ridiculed by Barry in order to put a comedic spin on the situation. The use of different resources of language such as stereotypes, hyperboles, and comparisons all support the main point that men are subpar in the kitchen compared to their female compatriots. Throughout “Lost in the Kitchen”, Barry speaks of the kitchen as if it contains its own consciousness, a place where women are unparalleled and reign dominant over men. The kitchen seems to be described as a trap of sorts, and he states that he would not have a preference between landing a nuclear aircraft or going into that foreign domain.
Her lies are less a thought of her own character and more a reflection of her husband’s surroundings .She does feel the need to keep up her self –respect, while satisfying her own needs. Again, her lies established the fact that how stressed she is by the opinions of her husband. The patriarchal setup of the play and gender roles are being broken as she is destroying the strict rules and by deciding to go out of family. She says that Torvald stops her from eating macaroons as they will destroy her teeth as well as her beauty, she still eats the macaroons. The limitations didn’t stop her from satisfying her own pleasures and she refused to obey through harmless actions showing that she strongly desires independence, but is too afraid to raise her own voice.
They both conclude that someone was rough with the empty birdcage. Immediately afterward, Mrs. Hale comments on the men’s progress to find evidence, saying, “’I wish if they’re going to find any evidence they’d be about it’” (Glaspell 1416). Mrs. Hale’s remark is ironic because her current conversation about the birdcage’s door hinge is indirect evidence, yet she is growing impatient with the men’s attempts to discover any solid evidence. A little later on, Mrs. Hale relates the idea of a bird to Mrs. Wright by saying, “’she was kind of like a bird herself.’” She then suggests to Mrs. Peters that she should take the unfinished quilt home to “’take up her mind.’” This leads them to search for Mrs. Wright’s patches and sewing accessories. They discover a “pretty box” and assume it is where she keeps her scissors (Glaspell 1417).
Katie Nolan, Francie's mother, is consistently filled with dread. She works all the time to support the family and her alcoholic husband. She realizes that she has settled by marrying Johnny Nolan and dreams of a day when he is no longer is in the picture. She wishes her husband dead ''He's worthless, worthless. And God forgive me for ever finding it out'' (Smith 205) and her contempt for life has a direct impact on her relationship with her daughter Francie.
The theme of shamelessness in a male-dominated society runs throughout “The Lottery,” not just during its horrible ending, and especially becomes obvious in the villagers’ lack of respect for life. Through the words of the male villagers, Jackson shows they feel no shame for what is about to happen. Specifically, the men show no shame in how they talk down to the women and express superiority. In one example, Clyde Dunbar is unable to draw, so Mrs. Dunbar decides to draw for him. Mr. Summers says to her, “‘Wife draws for her husband’ [...] ‘Don’t you have a grown boy to do it for you’
In this article, Doris Lanier argues that the pregnant girl, Jig and the father of the unborn child are not satisfied with “quality of life” because Jig connects absinthe to everything. Lanier explains why the characters feel their lives are not happy. The critic gives two reasons why she believes the characters think their lives are “destructive and have no meaning”(288).
The definition of a sympathetic character is one whom the writer expects the reader to identify with and care about, though not necessarily admire. In the novel, Of Mice and Men, by John Steinbeck, Curley’s wife, a main character in the book is blatantly portrayed as an unsympathetic character. This is because they only see her through the men's eyes, who only see her as a tiresome object, owned by her husband. Steinbeck’s portrayal of Curley’s wife is unfair and misogynistic because he only displays her as unintelligent and promiscuous, never has a character have a turning point where they realize she’s more than an object, and he never reveals her true name. The first reason that Steinbeck's portrayal of Curley’s wife is unfair is that he never gives Curley any redeeming personality traits, he only depicts her as unintelligent and promiscuous.
For instance, the lecherous mayor in his office when Mary C and Cordelia go there. And times when Beulah Mae is making food but the character doesn 't eat. Unless there 's a reason for the scene, it doesn 't need to be in the book. Therefore, I think you need to, as in Gone with the Wind, have Daneon and Mary C look at each other at the climax and realized they 've made a mess of both their lives. Daneon can blame himself for being a silent man, like his silent and a womanizer like his father who put up with Cecily demands.
Joe says, “Her hair was NOT going to show in the store” (55). Joe is worried that the other men might touch Janie’s hair and he does not want that because he is really jealous. It is not right for Joe to tell Janie how to have her hair only because he his very jealous. Joe is also not a good husband because he just uses her as a trophy wife. The book says, “She was there in the store for him to look at, not those others” (55).