Living in a society where women were viewed as codependent on men, Henrik Isben’s character Nora Helman challenged this mentality. This story challenged the social and marital norms of men and women with a controversial conclusion. Some were critical of Isben’s ending so he wrote a different outcome that would have pleased audiences more but not have had such a powerful message. In Ibsen’s A Doll’s House, despite censorship and audience resistance, the original ending written by Ibsen is undoubtedly the best ending. In A Doll’s House, Nora experiences an epiphany that triggers development in her character.
That is, if the primary relationship is unable to fulfill a certain need of an individual, he or she may be somewhat motivated to seek fulfillment of that need thr... ... middle of paper ... ...live their lives. Tolstoy sophisticatedly demonstrates how unbridled passion and a lack of communication, lack of spirituality, lies, deception and abundance of selfishness only lead to pain, suffering and failure. Through Levin and Kitty, Tolstoy displays a sensible, functioning marriage that has the potential to conquer all through maturity, communication, understanding and spirituality. Instead of the drama and seclusion Anna and Vronsky maintain, Levin and Kitty stop to enjoy the small things and focus on the important things as well as the immediate present. Tolstoy utilizes this novel to exemplify that a successful marriage requires facing more than just the sensational moments, it encompasses facing difficult times together through maturity and communication and true contentment is in the capability to enjoy the life you live and the person you live it with.
Considering that traditional society looked down on women as inferior to men, the female roles in each work challenge the status quo and make their audiences’ eyes wearier to the society they might have previously backed without question. The book We, and the plays Antigone and A Doll’s House provide rich support for individual reasoning and ardent opposition to mindless devotion to establishment. Zamyatin’s story opens with a perspective in support of the fanatical institution, but on deeper levels of commentary contradictions are already starting to propagate. A potential allusion to Zamyatin’s own ideological confusion early on in his life, the hidden meaning of We’s early lines reveal the trap of an ideal society. While Zamyatin felt that trust in society led to the decline of personal willpower, Sophocles argued that personal willpower provided a better alternative to trust in society.
Homans, Margaret. “’Oh, Vision of Language’: Dickinson’s Poems of Love and Death.” Feminist Critics Read Emily Dickinson. Ed. Suzanne Juhasz. Bloomington: Indiana UP, 1983.
Whatever motives convinced her to marry Linton betrayed her true feelings. I know how difficult it can be to choose between two people, especially when you don’t want to hurt either one. The decision is made even more confusing when you could picture yourself happy with each. In Catherine’s case, she was not worried about hurting their feelings as much as which one would be... ... middle of paper ... ...orse, and Cathy is a prime example of this. Throughout Wuthering Heights, I attempted to learn from the characters misery that they had, in most cases, brought upon themselves.
That the perception of woman is inaccurate is also supported by the role of Torvald. Woman is believed to be subordinate to the domineering husband. Instead of being the strong supporter and protector of his family, Nora's husband is a mean and cowardly man. Worried about his reputation he cares little about his wife's feelings and fails to notice many of her needs. The popular impression of man is discarded in favor of a more realistic view, thus illustrating society's distorted views.
The Base of Martha and George's Marriage In Martha and George's marriage, its hard to determine whether they rely on the affection or aggression, espacially if these emotions are normally juxtoposed. The ultimate impression given is that Albee tries to deal with the theme of Appearance versus Reality, thus emphasising that maybe there is more to the relationship than meets the eye. The audience in their involvement are unaware of what is real within their relationship. One may assume the title "Fun and Games" to be ironic, as the games "are not fun for them or their guests. Yet the interactions in this act are very much games.
The roots of one’s ethics are derivative of his or her upbringing. With hubris playing such a large roll as it does in Pride & Prejudice, it takes on its own character as the true antagonist of the story. Dissecting the characters of the story shows a traditional core with an unorthodox backwards way of thinking. Where admitting to mistakes means admitting to defeat, it is not difficult to understand the individual stubbornness that comes from each character. This stubbornness provides complications in, what should be, simple romances.
He then attempts to support this claim with a variety of biased and unverifiable... ... middle of paper ... ...ative communication; and that humans are social creatures with an unrelenting need to convey their emotions and experiences. Making these assumptions, we could see the supposed validity of his argument that the purpose of the site cannot be fulfilled in its currently proposed state because of human nature when it comes to romantic relationships and ending them. However, his argument is invalid. We can imagine a scenario where DDHG-DisHarmony users never began a romantic relationship with one another, or where such a relationship has not yet ended. His argument is also unsound, as many of his claims are based on his personal bias and opinion, and are unverifiable in the real world.
These are characters that while overly dramatic at times, are relatable because they are not perfect and they don’t struggle with being the perfect wife or machismo husband. Instead they are in constant struggle with their inner demons and desire just to be loved in a way which they deserve without prescribing to society’s norm. Works Cited 1. Fang, Wei. "Blanche's Destruction: Feminist Analysis on A Streetcar Named Desire."