Throughout the tragedy Antigone never fears Creon, the king, despite her knowing what fate lies ahead of her, she stands by her decision accepting the dire consequences that follow, simply replying to Creon “I do deny nothing.(208)”. Her assertive behavior to stand up to the authority and coney her opinion is an uncommon trait for a woman to posses during her time. Antigone is willing to bend the law to do what is morally correct whereas Ismene is worried about the dealing with the consequences of betraying the law. In the tragedy she is portrayed as a submissive girl, whose acquiescence towards the law, preserves her life She constantly encourages Antigone to stop resisting against the law and to follow Creon’s wishes, telling her “We are only women, we cannot fight men! (191)”.
She lets him take control over her mind. She is not loyal to her friends, but she is loyal to Iago, although he does not deserve it. Lastly, Bianca. Bianca is just so sprung over Cassio that it makes her look crazy. She wants them to be something that will never happen.
Inez was sure of herself and who she was, Estelle was afraid to make any decision that could influence her as a person and finally Garcin took away or added meaning to the scheme of things. Sartre’s No Exit brought all of these facets together in a very cohesive fashion and overall showed how Existentialism can bring the best and the worst out of people.
." (806). Eliza's initial feeling of fear points to a momentary sense of self-doubt in her character; however, her solid pride leads her to make a declaration in def... ... middle of paper ... ...f" as she "sweeps out" (864). Too proud to be bossed around, Eliza is confident enough to stand her ground and defend her dignity without being timid. Although it was in Eliza's sensitive nature to "fetch slippers," now she "won't care for anybody that doesn't care for [her]" (860).
Her sin is also an example of her independence; Hester acted on her feelings and didn’t allow the Puritan’s views to interfere with her emotions. Hester has changed throughout The Scarlet Letter. She was pushed into a world of isolation because she did not fear acting on her passion. Hester transforms from a free-thinking woman to a strong, "ABLE" woman. The suffering Hester endured strengthened her and turned her into a person who helped another in need.
133). Moira’s escape gave the handmaids a sense of freedom. “Moira was our fantasy”, “In the light of Moira, the Aunts were less fearsome and more absurd” (Atwood. 133). To the handmaids Moira’s courage exemplify what they like to do but they are too frightened to do so.
To be that of someone who breaks out of a weak shell only to construct a new. But the judgement of a weak character only binds a pathetic self-absorbent figure. Edna Pontellier is a woman that didn’t fabricate a new role for herself being. A woman that was trapped from sloth and incompetence, shone by her destiny to not be contested in the broken-down society she took part in. Edna tried to be stronger and different.
Jane does not let her affections overtake her morality, though her return to Mr. Rochester proves passion to be stronger than reason. Women in the Victorian era were held to an inferior status. Many had to hide their feelings, conceal their creativity and they were sought to conform to societal rules. Jane Eyre never quite followed this, growing up in a contemptuous household Eyre acted out, calling her provider, Mrs. Reed, "deceitful" and describing her upbringing as "miserable cruelty" (Bronte 37, 36). Jane's upbringing instills her strong belief in justice toward those who treat others unfairly.
It is only logical for someone with as much pride as Granny to try to control the situation. To elaborate, Granny Weatherall is also a control freak. She beats every threat that comes her way into silence and throws it to the farthest corners of her mind. For example, when faced with the thought of her demise, she rationalizes, “thank God there was always a little margin over for peace: then a person could spread out the plan of life and tuck in the edges orderly” (453). Though on her deathbed, she assumes she cannot die because she is not prepared for death.
This implicit rule about following what society thinks and sees as right impacts the characters and constricts their decisions. In The Awakening by Kate Chopin, the main characters, Edna Pontellier and Robert Lebrun, are trapped by the enforcement of cultural boundaries, such as the constraints on love and gender roles and the importance of reputations in their societies. A free spirited woman, Edna Pontellier wants just one thing, freedom. Wanting to get away from her family and explore the rest of the world Edna marries Leoncé Pontellier. In fact Edna’s lack of feelings for Leoncé is established when she states, “He [Leoncé] pleased her, his absolute devotion flattered her… Add to this the violent opposition of her father and her sister Margaret with her marriage to a Catholic, and we need seek no further for the motives which led her to accept Monsieur Pontellier