(Lawrence, 760) Uncle Oscar, in saying this, is actually reiterating the thought process that brought Hester to the brink of her own undoing. Telling her that Paul is “best gone” from a life where he had to try so hard to please his own mother is bringing the materialistic notion full circle. Sure, his mother gets the money that she has always wanted, but at what price? The text is a cruel twist on the phrase “Lucky in money, unlucky in love”; she got the money that she's always wanted (because of her son's luck), but only after forfeiting the life of her only son. But who's to say this new sum will satisfy her thirst for money?
On the surface he appears to be a rough, noisy, and insensitive, one who cares nothing for Katherine's feelings so long as she has money. Yet, in the inside Petruchio's intention is not interested for her money but the challenge of capturing her because of the reputation that she has. Like a secondary character is Katherine's sister Bianca. Apparently in her gentle behavior, she is an unkind sister and through the play she is in fact a disobedient wife. She fosters her father's attitude of favoritism for herself and dislike for Katherine by playing the part of a whole victim.
The nanny abandoned her own children to work for Nora’s family so that she could earn a living. Throughout the first two acts Nora sacrifices her true self so that she can be the perfect stereotypical housewife for her husband. She lives to please the ones around her instead of being true to herself and being happy. She also protects her husband by endangering herself when getting the loan from Krogstad. Nora’s abandonment of the children at the end of the play can also be considered as an act of self-sacrifice.
Mrs. Linde abandoned her true love Krogstad who was penniless in order to marry a man that would allow her to provide for her poor mother and two brothers. She told Krogstad, “What else could I do? If I had to break off with you,” “Don’t forget, I had a helpless mother and two small brothers. We couldn’t wait for you”. Kristine feels it 's her responsibility to be the provider and caretaker for her mother and two younger brothers.
She sacrifices her love, Krogstad, and marries a wealthy man in order to take care of her family. If society had permitted, she could have attained both love and family. Nora's nursemaid, Anne Marie, is also a victim of the society. She is forced to forgo her only daughter because an illegitimate child. Apart from being used by a wicked man, she is disabled from raising her ... ... middle of paper ... ...es set by the men of that era by ceding major cherished valuables of their lives.
We immediately get the notion that Lear is attention loving and that he loves flattery. As the scene develops we also discover that he knows almost nothing about his daughters, as he couldn?t recognize their falseness. As long as his eldest daughters flattered him, he was happy. He doesn?t even recognize honesty, as he scolds Cordelia for being true when she told him ?I love your majesty according to my bond, no more nor less?. Lear shows poor judgment when he banishes his favorite daughter and leaves her without a dowry.
Her father sees this as direct and personal insult and banishes her as well as taking her dowry. Cordelia demonstrates through her genuine expression of love for her father that she in fact loves him the most and is not just taking advantage of the situation like her sisters. Cordelia emerges from this twist moral depravity exploitation of famil... ... middle of paper ... ...triumph of immorality and evil over the few noble characters. Despite the depressing nature of this scene, Shakespeare once again give the reader’s perception of human goodness a small victory when Lear accepts Cordelia and the father and daughter reconcile. There is a little optimism to be gained as by Lear dying with the belief that Cordelia is alive.
In Henrik Ibsen’s A Doll’s House play things was not what it seemed. It also teaches us a lesson on the consequences of having a marriage lacking trust and poor communication. The marriage of Torvald and Nora seemed normal like any other marriage in that time period. Torvald was the bread winner Nora was a house wife and she took care of their two children. Nora thought that the only thing she was missing to be the happiest person on earth was money, and all her problems were going to disappear.
In Henrik Ibsen’s A Doll House the main character, Nora Helmer, shows us the story of a woman who has borrow money without her husband’s consent in order to save his life. Although this noble act would be admired by most, Nora has to keep it a secret from Torvald Helmer, her husband, as he would see it as a betrayal. The measures that Nora takes in order to keep the loan a secret, create circumstances that bring Nora—whose only duty is to serve her husband— to discover that her life can be more than just being an accessory to her husband. She becomes her own self. In her struggle to keep the borrowed money from her husband’s knowledge Nora begins a transformation from dependence of Torvald, to being self-efficient, self-worthy, and self-independent—qualities women of her time lacked of—because all, such as Nora never displayed a mind of their own.
I think my stories have some quality of the opening of a forbidden box.’ The act of forcing the wish to come true isolates Cain’s obsesses lovers from society and places them on what he calls a ’love-rack’” (Madden, journal) This forbidden box is very apparent in Mildred Pierce, as seen through the eyes of Mildred. Mildred appears to be a normal working mother, loving her children, and providing everything for them that she can, meanwhile struggling with her finances and problems with society’s expectations, and even her daughter, Veda’s expectations, which are quite a few. But underneath, there’s this very forbidden concept. Mildred loves her daughter, Veda, almost too much. “James T. Farell refers to Mildred’s ‘almost unnatural love for her daughter’” (Madden James M. Cain, 79) It is never exactly said in so many words, but the idea of Mildred loving her daughter more than what is natural is there, lurking underneath, like a forbidden box, on the verge of opening.