it is only at times of great stress that she gives way to fear (Red Room), but note that usually she has, even at the early age of ten, great self-control for most of the time. A different side of her character is revealed at Lowood school, when we see the tender and trusting nature in her dealings with Miss Temple and with Helen Burns. It is obvious that she has a great desire to be shown love, and when this is given, she is perfectly happy to return it in kind. There is still, however, anger and resentment, especially on behalf of injustice. She cannot take Helen's advice to submit to chastisement and to be submissive and patient, to heart, eve... ... middle of paper ... ...nd herself to do what is right, and leave Thornfield, despite the enormous temptation to stay and become his mistress.This conflict continues - she is torn between desire and duty until she returns to Ferndean at the close of the novel, but inner strength and determination carry her through the time at moor house and her relationship with the Rivers family.
In comparison to Esther Downing, Hope is the antithesis of what a young Puritan woman should be, and in turn, Hope gains a great deal of respect from the readers of the novel through her “unacceptable” behavior. Hope’s most noticeable characteristics, unusual for women of the time, are that she is assertive and aggressive, bold and daring, the opposite of the passivity that women were expected to portray. Hope speaks her mind freely, despite what consequences may follow. Those around her acknowledge her unwelcome behavior, and Governor Winthrop makes note of it to Mr. Fletcher. He tells Mr. Fletcher, “you must allow, brother, she hath not… that passiveness, that, next t... ... middle of paper ... ... who exemplify the “proper” behavior for a Puritan woman, has the ability to squash her fears and put out of her mind any possible dangers, so that she can accomplish necessary tasks.
She subjects herself to the humiliating drudgery of subscription sales in order to enhance Laura’s marriage prospects, without ever uttering so much as a word of complaint. The safest conclusion to draw is that Amanda is not evil but is deeply flawed. In fact, her flaws a... ... middle of paper ... ...r we will see that she is afraid of what will happen to a young girl of Laura’s position who is not married. Thus, Amanda’s emotions are mixed at present but will become clearer as the play progresses. Note how Amanda plays the revelation scene for all its theatrical effect.
Their role additionally, adds more humour to the play, especially in those dull scenes where humour is expected to be used in order to break down the monologues, to change the subject or merely to accelerate the pace by altering the tone used. Yet, their role is much more extensive. Catherine Petkoff for instance, also supports her daughter with everything she says or does, even to the point of lying to his husband about the “chocolate cream soldier” and accepting a “refugee” in her house. Probably due to a great and impressive mother-daughter relationship, yet, it is also possible that Raina is constantly controlling her mother for her own purposes, as she later accepts that she uses the “noble and the thrilling voice” which her parents “believe in”. Either way, the role Catherine is very clear; she is a supporting character.
Her love is boundless, but not expressible through flattery. Though she makes little effort to elucidate her simple words, her bond is substantial, having been "Begot, bred and loved,(I,i,96)" by her father. Cordelia speaks in her explanation of performing her duties as she sees "right fit. (I,i,97)" Acting with such perfect purpose defines the princess as possibly the only absolutely righteous character in the play. But apart from merely confronting the possibility of losing her fortunes, she accepts her king's decision with silence.
Although her stepmother and stepsister do their best to ruin her happiness with overwhelming amounts of chores, she never fails to preform them with glee, not letting their cruelty get to her. This symbolizes Cinderella’s inherent goodness and grace in the face
She fought for her daughter and won. Her daughter wasn’t the ... ... middle of paper ... ...cause she had finally realized how much Chillingworth was tormenting Dimmesdale. Hester was willing to overlook the possible anger that Dimmesdale would feel towards her and thought out about what was best for him. Putting others before yourself is unquestionably a saintlike trait. In Conclusion, Hester proved that she was a saint throughout this book using a substantial amount of willpower and determination.
It would have spared her from explanations and professions, which it was exceedingly awkward to give; but they were now necessary, and she assured him, with some confusion, of her attachment to Mr. Darcy.” (P. 219 Chpt. 59) Elizabeth’s character was one of the most dynamic in the story. She learned that her prejudice lead her to treat her loved one terribly. Then, not even ten pages later, Lizzy explains Darcy’s change of heart and reason for proposal, showing how he too, is dynamic. “ I roused, and interested you, because I was so unlike them.
Coincidentally, her acts that were seemingly in opposition to faith were seen by her friend, Helen. It is when Helen was punished by her teacher that Jane advised Helen to not stand for such cruelty to which Helen replied that God guides those to t... ... middle of paper ... ...was more capable of winning his affections and no amount of money would alter that. People were surprised at the relationship with a governess and because Jane did not allow this boundary to stand between them, it was one of the things that marked her as a truly unique individual. In the present day, Jane Eyre would be perceived as a person who is entitled to basic human rights, but because there weren't many women back in that period who made it known of their wish for these rights, she was an odd and outrageous character. She was outnumbered, and was very liable to be trampled on by those with beliefs and ideologies of discrimination for a world that would be most suited to them.
By piecing all of this together, the governess proves to herself that she is not insane. The governess in The Turn of the Screw, is a highly unreliable narrator. From the beginning of the story, her energetic imagination is displayed to the reader. With this knowledge alone, it would not be irrational to conclude that she had imagined the appearances of Peter Quint and Miss Jessel. However, these facts in addition to her unsubstantiated inferences allow the reader to intelligently label the governess as an unreliable narrator.