In “The Birthmark” the wife is obsessed with her birthmark and believes it means something. Her husband sees her birthmark as a burden to her and removes it himself. Liz Rosenberg talks about Aylmer by saying, “In Aylmer’s “delusion” he mistakes Georgiana’s physical imperfection for a spiritual one, and in trying to cure her of her human nature, he kills her” (146). In both stories the wives have their obsession that worries their husbands. The wives have their own way of keeping themselves entertained and happy.
The governess first denies that they are not absolutely alone, implying the existence of the ghosts. However, Miles seems to accept that by answer... ... middle of paper ... ...riumph, Miles breaks that by asking for going out, which breaks her last nerve and sanity. The only thing the governess can do to defense her power and her innocence is to hold Miles tightly till his death so that “[Quint] has lost [Miles] forever” (87). In conclusion, since the governess perceives the fight between the ghosts and her represents her inner fight of immoral and moral, the confrontation in chapter 23 is the last turn of the screw as the governess finally discovers the weakness of the ghost and it is the last chance for her to win. Mile’s request starts a quiet “fight” between them and drives the whole story to an extreme direction that the governess at last loses her sanity with an excessive protection that kills Miles.
Both women in these stories help symbolize hope and a strive for something. Holding on to something that you feel very unpleasant about can make the relationship seem ill. In “The Story of an Hour” is believed that Miss Mallard holds onto her relationship with Bentley Mallard because she does not want to be alone. She will be with a man that she is not happy with just for the sole reason of not being alone. This may sound gruesome when I state this, but Miss Mallard finally got sick of it and she wanted to worst for her husband.
“The Birth-mark” and “Ligeia” both reveal the destructive effects of obsession with perfection on the principal male and female characters. “The Birth-mark” is a story about a young woman, Georgiana, whose husband convinces her that the removal of her birthmark will make her perfect and pure. “Ligeia” is a story about another young woman, Rowena, who is driven to sickness and death because of her husband’s obsession with his former “perfect” wife and her inability to measure up. These separate husbands inadvertently kill their wives through their obsessions. Hawthorne’s story describes the harmful effects of Aylmer’s obsession with the almost-perfection of his wife.
The sleeping and the dead/ Are but as pictures. ‘Tis the eye of childhood/ That fears a painted devil” (II.ii.53-55). In this scene, she is taking charge of the situation by ignoring her husband’s inability to fully comprehend what he has just don... ... middle of paper ... ...rs life without power worse than death and would even prefer the latter. It was an atypical character trait at the time for a woman to desire power as greedily as Lady Macbeth does. The story of Lady Macbeth throughout Macbeth is one unlike those of its time in its unusually forward-thinking portrayal of a woman with thoughts and actions which would have been considered indecent.
It can be heavily assumed that she knew of his wicked ways, but only seen him as her loving husband. Gertrude seemed to not hold the ability to think deeply about the situation at hand, and she ran straight into the Antagonist’s arms. Having the mental capability to assess a tragic situation and to figure out the suitable actions was something Gertrude lacked. Additionally, in Act One Scene Five the ghost of Hamlet’s father says “So to seduce, won to his shameful lust the will of my most virtuous queen.” The Ghost illustrates the picture of a woman who was loyal to her husband, but was seduced by his brother. For one to be seduced by the brother of one’s love, the mental proficiency to repress the advances must be moderately low.
She finally finds a friend, and possibly a love, in another Bengali man named Pranab. Once he was engaged and then married, Aparna revels to Usha that she was on the brink of committing suicide. Both characters were being controlled and had little to no say in what they could or could not do. These restraints with the added on stress that they faced cause both to the edge of madness. Women who had to withstand the struggles of doing what is expected of them while still attempting to do what they desire encounter many restraints that force them to stray away fr... ... middle of paper ... ...self-expression can then lose themselves.
Tragically, she yearns to be a part of the family that may never truly accept her. Furthermore, in order to cope with her unsatisfactory life, Margot escapes to drama and writing, continuously creating fictional characters whose lives are not bound to loveless relatives. Likewise, feeling emotionally shut away from her family (her father, in particular), Margot begins to hang her head down and isolate herself even further. It is not long before she takes shelter in secrecy, concealing her emotions, and refusing to let others see her true nature. In a never-ending pursuit for finding love, and ultimately, her identity, Margot begins to reach inner peace and re-shape her future.
At the beginning of the book the governess is being thrown into a situation that she is unprepared for. This unpreparedness was due to the life she lived before going to Bly. That life gave her little applicable experiences and leaving her always wanting attention, especially from men. Also, the governess feels the need to discredit the perfection of the children and by creating these ghosts this goal could be achieved. This need to seek a man’s attention and discredit the children suggests that the governess was never sane and imagined the ghosts.
I see nothing. I never have. I think you’re cruel. I don’t like you!” (James 215). The governess, so disoriented by her mind, doesn’t realize that she is projecting her own fears and demons created by her mind onto the ones she loves.