Comparing the Male Characters of Porphyria’s Lover and My Last Duchess The creation of a plausible character within literature is one of the most difficult challenges to a writer, and development to a level at which the reader identifies with them can take a long time. However, through the masterful use of poetic devices and language Browning is able to create two living and breathing characters in sixty or less lines. When one examines these works one has to that they are quite the achievements
The Representation of Male and Female Characters in Two Comedies Situation comedies as a whole are a conservative representation of life mainly due to the fact they are screened at prime family times and want as large an audience as possible so try not to be too controversial. This means they very rarely challenge the status quo and re-enforce stereotypes. I am looking at how male and female characters are represented and whether the way they are represented challenges the stereotypes associated
Emily, from a Rose for Emily, is a noteworthy woman character. She had three prominent male character counterparts. The men in the story have different personalities, and each one has an intriguing effect on Emily. They each affect her differently, both emotionally and psychologically. All the male characters are dominant over the female character; however, they utilized their dominance in varying ways, which has a negative psychological effect on Emily. In a Rose for Emily, Emily’s father is a vindictive
The Way the Male Characters are Presented in Tony Kytes, the arch-deceiver and Alison Ashworth by Nick Hornby The two stories 'Tony Kytes, the arch-deceiver' and 'Alison Ashworth', are both about a male character who is easily persuaded by the opposite gender into marriage or a relationship. In the two stories, both the male characters seem to have the females making their decisions for them, but the setting of the two stories seem to have great affect on the characters and how they react
Eugene August describes Miller’s ‘Death of a Salesman’ as a profoundly male tragedy, one in which its protagonist is destroyed by a debilitating concept of masculinity . Masculinity is of course an ambiguous term and araises a gamut of views. Willy Loman, a failed salesman, embodies the deluded values and aspirations that could be said to originate from the American Dream, which infiltrates every aspect of his life. Whilst Willy is influenced by material and consumerist success, reflecting the play’s
Eugene August wrote how ‘Death of a Salesman’ is a profoundly male tragedy, one in which its protagonist is destroyed by a debilitating concept of masculinity . Willy Loman embodies deluded values, hopes and aspirations that originate from the American dream and infiltrates them into every aspect of his life. His highly inflated dreams of success and prosperity contrast with his emotional instability, which tragically lead to mortality and mutability. ‘A Streetcar Named Desire’ on the other hand
Jane Austen has a great talent for developing her characters into what she envisions. Jane Austen’s effective use of character development is best displayed by the male characters in Pride and Prejudice, where the male characters are not what they first appear to the reader. Mr. Wickham, who first appears to be prince charming, ends up almost the exact opposite. Mr. Bingley, who is initially shy but friendly, grows in his confidence, courage, and independence. And last, Mr. Darcy learns he does
focused solely on the character and adventures of the female protagonist/hero. A somewhat right-wing and didactic critique at Decent Films writes, “Alice embodies the gender feminist narrative of vibrant young girls losing their mojo as they come of age in patriarchal society.” The woman’s magazine, Jezebel, while praising the movie as “refreshingly feminist” seemed to notice only that the hero who fights against the forces of evil is a woman. Jezebel mentions other characters, but does not take the
In Shakespeare’s tragedy, Macbeth, the male characters, Macbeth, Macduff, and Banquo, each revealed their similar and differential behaviors toward each other in the duration of the play. Macbeth’s lust for power, Macduff’s willingness and determination, and Banquo’s honesty and motivation were all key factors for this. This play opens up in Scotland where the King of Scotland, Duncan, receives news about Macbeth’s bravery in defeating MacDonawald. At the same time, the Thane of Cawdor is arrested
society by a male or parental figure that leads or governs much like the way a father would direct his family. In Victorian society, the idea of paternalism was prevalent. The idea was also frequently used as a motif in western literature. Bram Stoker's novel Dracula, published in 1897, depicts a paternalistic society through a repression of the female sex and a continuous exaltation of the domineering male sex. Stoker communicates this idea through an abundant use of prominent male characters
undoubtedly focused on its male characters: Achilles, primarily, but also Hector and Agamemnon. Nevertheless, it seems that the most crucial characters in the epic are female. Homer uses the characters of Thetis, Andromache, and Helen as a basis for comparison to the male characters. Homer wants his audience to see and understand the folly of his male characters in choosing war over peace, aggression over kindness, and honor over family. While the behavior of these characters clearly speaks for itself
of what has been called ‘her male coterie’, including her lover Percy Shelley, Lord Byron and his physician John Polidori. It has been suggested that the influence of this group, and particularly that of Shelley and Byron, affected her portrayal of male characters in the novel. As Ann Campbell writes: ‘[The] characters and plot of Frankenstein reflect . . . Shelley’s conflicted feelings about the masculine circle which surrounded her.’ Certainly the male characters in ‘Frankenstein’ are more
constantly is night and the fear of darkness. Fredrick is afraid of the dark. What this seems to mean is that Fredrick is afraid to be in the unknown. This is the idea that males want to know what is around them. Fredrick is afraid of what he does not understand. This symbol is also seen in “A Way You’ll Never Be” where Hemmingway’s character Nick will not sleep without a light. When a person sleeps they are resting and it seems that Fredrick does not want to rest without “knowing”. If Nick were to have the
play with the morality of a character and this explains one's egotistical tendencies. In Radcliffe's Italian, no matter which side of the morality tree a character stands on, Satan has slipped a little pride in everyone's apple. The role of doubles begins before Poe popularizes it. Radcliffe works hard to create evil twins and/or corresponding halves to some of the characters in order to demonstrate the power of pride. The gender roles of both male and female characters in The Italian do not always
comparing Gabriel Marquez's One Hundred Years of Solitude and Yasunari Kawabata's Thousand Cranes. The men in each novel forever seem to be repeating the lives of their male ancestors. These cycles reveal that man as a being, just like the mythological heros, has no true choice in the ultimate course his life will take. The male characters' personal development is overshadowed by the identity of their ancestors. Since the beginning of time, man has clung to the notion that there exists
women and Cordelia the small, sweet daughter and while this interpretation may be true there are other aspects to consider which are not typically presented when reviewing these female characters. Each of these women is worthy of acclaim for her strengths of character as well as in opposition to the male characters and various subplots within Lear. A common interpretation of Lear is one of the juxtaposition of good and evil within the play. Many traditional critics have made this idea their primary
examination of how Eve’s art is perceived by the poem’s male characters, it becomes evident that Eve’s aesthetics do not quite fit. It is tempting for the reader, who lives in a “fallen” world, so unequivocally in favor of artistic culture, to praise Eden for examples of cultural activity within it. However, just about every example of Eve’s artistic activity is characterized by an aloofness from divine discourse. The male authoritative characters of Paradise Lost primarily ignore Eve’s examples
writing in order to gain insight into his world of manly delights, including his views on sex, war, and sport. His views can be seen through his characters, his themes and even his style of writing. The characters in Hemingway’s stories reveal much about how he feels about men and the role they should play in society. Most of Hemingway’s male characters can be split into one of two groups. The first of which is the “Code” Hero. This is the tough, macho guy who chooses to live his life by following
However, if one looks through this window and does not leave behind the ideals of a modern society, the view may become distorted and not be as pleasing as it was for Shakespeare's contemporaries. In I Henry IV, the characters of the women are not equally developed as the male characters; but their interaction, or lack thereof, depicts the changing, yet somehow stagnant, roles of women during the English Renaissance. In I Henry IV, the "themes of public and private life are brought together" (Speaight
the play, is a major exception. To put it bluntly, Portia is enormously rich. This unique position allows her to meddle in the affairs of the unsuspecting and somewhat dim male characters, and eventually gives her unprecedented power of self-determination. However, the play is more than a tale of feminine wiles overcoming male dullness of wit. Portia's wealth and intelligence may fuel her successes in marriage and the courtroom, but in each case it is her ability to usurp traditionally masculine