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Stereotypes about senior citizens
Stereotypes about senior citizens
Stereotypes about senior citizens
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The film Chocolat contains an abundance of characters, varying in strengths, weaknesses, and wisdom. A particularly strong character is the elderly Armande. The way in which Armande has decided to live out her illness is unique, causing embarrassment to her daughter and sever judgment from the townspeople. Armande strays from the typical traditions of the town, and she demonstrates that despite being physically weak she is the toughest of the large group of characters, clearly shown when she demands that “[no one] dare pity [her]”. Armande’s refusal of pity may be easily mistaken as a mere manifestation of the old women’s pride, but she requests much more of her listeners when says this line. In this bold scene, her illness has
As an audience member of playwright Edmond Rostand’s renowned production of Cyrano de Bergerac, one comes to adore the heroic, witty, affectionate, poetic, and honorable French soldier, Cyrano; however his unique qualities are overshadowed, literally, by his rather gargantuan nose. It is through discussions and insults concerning this physical attribute that the audience discovers he is in fact in love with the woman he has held close to his heart for many friendly years, his cousin Roxane. Completely unbeknownst to Roxane, Cyrano’s love and admiration for her is not simply on a relative scale as she perceives it to be, but rather the much more drastic level of physical, emotional, and intellectual attraction. As the play’s focal point is the life of Cyrano, the audience effectuates in the idea that he, being the sincere and devout man he is, is deserving of Roxane’s love. However, the true question is: is she worthy of him even though her afflictive unattainability and major faults?
Nevertheless, Bertrande knows these self-centred intentions, when put into action, will ultimately be reflected by the displeasure and distress of her children and the Mesnie. ‘I am destroying the happiness of my family. And why? … to free myself from the deceit which was consuming and killing me.’ Bertrande’s strong desire to free herself from the cunning of Arnaud du Tilh inevitably brought considerations of the Mesnie and her children to mind. ‘Her affection for her kindred rose about her in a wall implacable as stone’ as she was ‘condemned to solitude’ knowing the hurt her accusations against Arnaud inflicted upon the mesnie. Furthermore, the drawn out process of the trial brought ‘heart-breaking uncertainty,’ with Lewis clearly indicating through this use of language Bertrande’s awareness of the affect of her actions upon others.
In The Portrait of a Lady (POAL), Isabel is searching as well, traveling where her caprice leads her. "You're drifting off to some great mistake," her friend Henriett...
In the play Cyrano de Bergerac, Edmond Rostand emphasizes the theme that inner beauty is more significant in romance than outer beauty. Rostand conveys this theme through the character of Roxane. Before the battle against the Spaniards, Roxane says to Christian, “You do not altogether know me… Dear, There is more of me than there was - with this, I can love more of you - more of what makes you your own self - Truly!... If you were less lovable - … Less charming - ugly even - I should love you still” (188). The character of Roxane places higher significance on inner beauty compared to outer beauty than in the past, as implied when she says that there is more of her than there was. Roxane’s focus on inner beauty is further revealed when
Superficially judging one’s character based on appearance alone may overshadow all of an individual’s positive attributes. As a result, fear affects the decisions that one makes throughout his or her life. Within a prestigious work of tragic literature, a character is seen as the epitome of the intricacy that insecurity has as he endeavors to indirectly win his Corazon’s love. Such a theme is portrayed in Edmond Rostand’s play, Cyrano de Bergerac, which takes place in seventeenth century France, a time of valor and romanticism. The protagonist, Cyrano, is so fixated on his hideous nose that he allows it to upstage his virtuous traits that could enable him to achieve the happiness of love. On account of this, the poet lives in the shadows of insecurity and never has the courage to directly court his extraordinarily beautiful and sophisticated love, Roxane. As time goes on, the Gascon is able to devote his love through a beautiful face, Christian, who is dim-witted, but admired by Roxane. This creates a dilemma for the poet because as he tries to make others happy, he is not able to be content with himself and he lives a life of despair. By possessing the exemplary attributes of pride, bravery, and humor, the grotesque but soulful Cyrano de Bergerac clearly exhibits a potential to live a happy life, but unfortunately, his life ends up unfulfilled as he is unable to selfishly take advantage of his trait’s abilities.
When first approaching this work, one feels immediately attracted to its sense of wonder and awe. The bright colors used in the sun draws a viewer in, but the astonishment, fascination, and emotion depicted in the expression on the young woman keeps them intrigued in the painting. It reaches out to those who have worked hard in their life and who look forward to a better future. Even a small event such as a song of a lark gives them hope that there will be a better tomorrow, a thought that can be seen though the countenance by this girl. Although just a collection of oils on a canvas, she is someone who reaches out to people and inspires them to appreciate the small things that, even if only for a short moment, can make the road ahead seem brighter.
Scene 1. At her wedding Hero, is publicly accused of being a cheater by he fiancé Claudio. After being denounced by Claudio Hero faints, while she is on the ground her father Leonato says: “Do not live, Hero, do not ope thine eyes, For, did I think thou wouldst not quickly die, Thought I thy spirits were stronger than thy shames, Myself would, on the rearward of reproaches, Strike at thy life”(4.1.131-135). Leonato is hoping that his daughter Hero is dead, and if she is not, he will risk the punishment and kill her himself. Although he has no evidenced of Hero’s crimes, and Hero tells him she is innocent Leonato choses to believe Claudio over Hero. He is so angry at what his daughter has allegedly done he is prepared to kill her. It is seen here that in this time period men are much more trusted then women. This scene also shows how serious it was for a woman to have premarital sex. Leonato had no trouble believing his daughter was unfaithful with no evidence, and was ready to kill her because she had sex out of wedlock and dishonored his
The Sonnets and Cymbeline portray different gender relations: dramatically through the narrative, characterisation and theatricality of Cymbeline and through the poetic structure and language of the Sonnets. The relationships between male characters in Cymbeline can be measured against the two female characters in play and considered within the bounds of gender characteristics alongside patriarchal and societal expectations of gender roles. The effects of Innogen’s disguise as Fidele does not introduce romantic confusion or comedic relief to the plot but appears to operate on a psychological level in order to drive the plot to its misogynistic conclusion. The interaction between characters and the resolutions achieved in Cymbeline supports the proposition that the most important relationships are those between men. The early sonnets, which are considered to address a young man and those from Sonnet 127 onwards the dark lady, illustrate relationships directly between the poet’s voice and the character, whilst no name characters or narrative exist across the sonnets. The language of the sonnets illuminate relationships amidst the theme of longevity and procreation in order to present the emotional and physical nature of relationships and does not imply an importance over relationships between men. Therefore, the Sonnets cannot be considered to support the proposition.
It is quite ridiculous how much Marguerite’s happiness lies in her husband Sir Percy Blakeney alias the Scarlet Pimpernel. One of Marguerite’s major struggles throughout the story is getting him to love her again, and until she did she could not sleep peacefully. Her husband who goes to France to save the aristocrats is in danger of being guillotined on his missions. Armand, her brother and a member of the League of the Scarlet Pimpernel who is entrusted to bring the fugitives to Pere Blanchard’s Hut, is in equal danger of execution. Yet Marguerite cares only for the husband she realized she loved the night before, while completely ignoring the brother who helped raise her. “My brother!” she cries when Sir Andrews points this out. “Heaven help me but I fear I had forgotten.” She later screams, “No! no! no! no! Oh, God in heaven! this cannot be! let Armand's blood then be on her own head! let her be branded as his murderer! let even he, whom she loved, despise and loathe her for this, but God! oh God! save him at any cost!” The very man whom she called “the only being in the world who has loved . . . truly and constantly,” the man for whose safety she spied on the Scarlet Pimpernel, is cast aside for the foppish husband she fell in love with only yesterday. Marguerite’s life is centered on Percy to the point ...
Desdemona is a victim of both Othello’s jealousy (the ‘green-eyed monster’) and Iago’s malevolence. However, as a literary construct, she is unable to prevent herself from falling victim to the hamartia of Othello and his hubris, an essential flaw in the tragic hero according to Aristotle. His pride is wounded by the idea that society would consider him emasculate due to having been cuckolded – in this sense, her fate was inevitable. Another of Aristotle’s theories purports that catharsis (often experienced following the death of the tragic victim) is a vital component of tragedy; as a great tragedy, catharsis must certainly be felt by the audience of Othello. However, the purging of emotions should surely only be felt towards characters which are genuinely liked, demonstrating the intricate link between pity and likability and highlighting the paradox in Auden’s statement: the audience must like Desdemona to some extent for her death to have a dramatic effect. Regardless of personal opinions on Desdemona, it is an upsetting final thought for the audience that there seems to be little hope for their own lives if evil can prevail over someone so good and taint something as beautiful as Othello and Desdemona’s love.
She does not spew out all the reasons why she loves Othello or say that she is unavoidably attracted to him as she could have. Instead, she picks a practical reason –
This forenamed maid hath yet in her the continuance of her first affection. His unjust unkindness, that in all reason should have quenched her love, hath, like an impediment in the current, made it more violent and unruly. Go you to Angelo; answer his requiring with a plausible obedience; agree with his demands to the point; only refer yourself to this advantage, first, that your stay with him may not be long; that the time may have all shadow and sicken in it and the place answer to convenience. This being granted in course-and now follows all-we shall advise this wronged maid to stead up your appointment, go in your place. If the encounter acknowledge itself hereafter, it may compel him to her recompense; and here, ,by this, is your brother saved, your honor untainted, the poor Mariana advantaged, and the corrupt deputy scaled. [III.iii.265-293].
Jonathan Swift’s poem, “A Lady’s Dressing Room,” represents a man’s love for a woman as the author, Strephon, and audience explore the happenings inside a woman’s bedroom. Like many other men, Strephon is an obsessed lover whose vision of women is distorted by eighteenth century radical ideals of love and beauty. While the poem is a satire, Swift tries to establish that love is blind and presents that love is only based on beauty of women. By introducing an idealistic lover into a realistic environment, he examines the disturbing end results as Celia falls from her godlike state. As she is humanized, Swift successfully demolishes the ridiculous fantasies of love and beauty, and men are also able to see more clearly behind the clothing and make-up. In “A Lady’s Dressing Room,” Swift exposes the contradiction between idealized love created by eighteenth century society and reality, as he forces Strephon see past Celia’s façade by investigating Celia’s dressing room and discovering traumatizing facts as well as disillusioning him with the help of Swift’s vivid description.
And yet, if we do not place our sympathies with Alceste, we search this play in vain for another character worthy of them. The silly marquises do not command much respect. Arsinoé is conniving, spiteful, and a critic of everyone else's morals. Oronte is not only as vain a...
... her true feelings with her sister, or talking to her husband or reaching out to other sources of help to address her marital repressed life, she would not have to dread living with her husband. “It was only yesterday she had thought with a shudder that life might be long” (Chopin 262). Her meaning for life would not have to mean death to her husband. In conclusion, her lack of self assertion, courage and strong will to address her repressed life made her look at life and death in a different perspective. When in fact there is no need to die to experience liberation while she could have lived a full life to experience it with her husband by her side.