As a human it’s in our nature to make decision based on what may be best for oneself at the moment, but we do not think of the repercussions it may cause in the future. These decisions can have a positive and negative effect on one’s life. Kate Chopin’s “The Awakening” shows the general population how making decisions without thinking rationally. Edna Pontellier made decisions that were both beneficial and harmful to herself and her family. She began to experience an emotion she has never been able to acquire and also caused her to become physically trapped in a situation that makes her battle between her dignity and image in society.
A Doll House is widely considered to be one of the first and most poignant examples of realism in drama. Ibsen developed a definitive plot in A Doll House, but the play is primarily a social critique that examines the role of women in society. Nora frets endlessly about the effects of her betrayal but by the end of the play she becomes reflective and even a bit scornful of her husband and the role he has helped force her in to. Right before Nora is going to abandon her family, Torvald comments that, “no man would sacrifice his honor for the one he loves”. Nora’s caustic reply is that, “it is a thing hundreds of thousands of women have done” (3.
Through the negative experiences that she has had with motherhood, Sula does not want to become a mother. She sees Hannah’s sadness and frustration with Eva and recognizes her poor relationship with Hannah and does not want to repeat it. Sula’s insufficient relationship with her mother is exposed when Sula watched her mother burn and die. Sula does not attempt to help her mother, she only stands silently and watches her mother die. Eva notices this but, “remained convinced that Sula had watched Hannah burn not because she was paralyzed, but because she was interested” (78).
Dedé primarily speaks of the good times and what made each sister so unique, but later in the story she gets caught in the bad times. She speaks of her regret in not following in her sisters’ footsteps by asking herself “Why? Why didn’t she go along with her sisters. She could have started a new life” but goes on to remind herself that she “had been ready to risk her life” but not her marriage (177). She also justifies this reasoning earlier by stating “we women followed our husbands… I followed my husband” however her regret for not following her sisters comes back as she questions her actions from decades ago.
She had to get out of there. She shuddered at the image of the “bad men” the voice had spoken of on their way to abduct her as they did her parents. She was frustrated with herself for not listening more intently and strained to remember what the old woman had said. After some thought, things the mystery woman had said earlier began to slowly appear in her memory. I do not blame you, young Lily … forgive me for not being in your life…bring justice to my daughter’s death… she tried to be the best mother she could… sorry you didn’t know sooner… Be safe… They just kept flooding in, and even through the fear of the men she had to escape, she had to pause to take in her startling realization.
The irony in the situation comes from the fact that Mrs. Bennet makes such an effort to tell her daughter she doesn?t want to talk to her daughter, yet she goes on and on talking about how she is the target of so many complaints from her daughters. Verbal irony is also widely used throughout the book. After Charlotte marries Mr. Collins she is introduced to Miss Catherine de Burgh, who is regarded in the highest form by Mr. Collins, but unfortunately Charlotte merely tolerates her and her husbands? seemingly obsessive interest in her wealth and dignity. This tolerance is evidenced when Catherine has just heard her husband speak extravagantly about his benefactress she says to him, ?Lady Catherine is a very respec... ... middle of paper ... ...rs.
"Seventeen Syllables" both begins and ends with a conversation between the mother and daughter, which is the only access the reader has to the mother's passion about writing and her past secrets. Both mother and daughter realize the difficulties in communications between one another, and suspect its dangers, yet they continue to have intimate discussions. Because we are only given Rosie's perspective, we are aware of her reservations. For example, when confronted with the intense conversation between she and her mother at the end of the story, she thinks to herself, "don't tell me now ... tell me tomorrow, tell me next week, don't tell me today." (Yamamoto 390) Although she realizes this could be the end of her world, as she knows it she listens as a way to support her mother.
The opportunity cost Kingston faces with this is going against her family’s word and betraying their rule. Furthermore, Kingston uses a plethora of language and diction to convey her tone and show to us how she felt towards her aunt. From paragraphs 24 and 25 Kingston uses vivid imagery to really allow us to picture her aunt and how much care she put into herself. Since Kingston put so much detail into her aunt’s description, we can see she actually admires her aunt’s beauty and is apathetic to the suffering she went through. To continue, there are other sections where Kingston actually feels sorry for her aunt.
When first reading this, the thought of one sister tying up the other and dragging her is pretty funny. But when you stop to think about why Kate is doing this to her sister, you start feeling sorry for her. We see the immaturity of Kate and that she does not know how to deal with her feelin... ... middle of paper ... ...is also helping herself gain power. Also, the speech lets you know that she is aware of the difference between public and private behavior and just because she is “giving in” to her husband, she knows that she will not always have to do so, especially in private. It also shows that Kate has grown in maturity and can handle things in an adult way, such as give and take, instead of having to use physical force.
Instead, Munro makes the reader use more of ones imagination in developing the story. Although Munro is not explicit, the story is about an unhappy relationship between a daughter and mother. In the story the narrator flashes back to a time in Rose's career when she was in a play with her breast exposed. Flo showed her displeasure by writing her a letter that said "shame" and adding that if her father was not already dead, he would wish that he was (Oates 154). Yet, the reader feels that Rose is still trying to earn her mother's respect and love.