In the poem “Medusa” gender conflict through control is also illustrated when she says: “a suspicion, a doubt, a jealousy”. This depicts that she feels ownership over her husband and wants him to “be terrified” if he does not obey her commands. However, in “Les Grands Seigneurs” the narrator conveys that after she was “wedded, bedded … a toy, a plaything … wife” she is nostalgic for the first three stanzas to how men were towards her before she was married as she is now powerless. We can depict that there was less gender conflict before she was married. Moreover, in “Medusa” powerlessness is also portrayed when she rhetorically questions herself “Wasn’t I beautiful?
She has connected sex to love. When she is ignored by her lover, she is upset. Her lovers behavior is contributing to a obsessive rampage. The story shows the pure desperation for love and the effect on a person it can have.She shows how much she will accept for her own perfect picture of love. In the end what really matters Truth or Love?
However, Bianca is somehow still unselfishly in love with him even after realizing this one sided relationship. After her jealous fit, she notices that Cassio is wounded and immediately dismisses her previous anger and desperately cries out, “O my dear Cassio! My sweet Cassio!” Critic Carol Thomas Neely suggests that, “Bianca’s jealousy is in contrast to the men’s, instead of corroding within, it is quickly vented and dissipates, leaving her affection for Cassio
This evidently is a declaration of his intention to be "foolish," as Schmidt has explained the word. 2 Then to his mother in the Closet Scene, he distinctly refers to the belief held by some about the court that he is mad, and assures her that he is intentionally acting the part of madness in order to attain his object: "I essentially am not in madness, But mad in craft." (III. iv. 187-8.)
Juliet to get her mother not knowing about Romeo talks against him. Lady Capulet talks of a man will be sent to poison his drink. Juliet agrees that is a good plan. At this time Lady Capulet tells her about the marriage and what day it shall be upon. Juliet's parents call her crazy for talking this way.
Shakespeare effectively creates dramatic irony in this scene which creates a strong sense of humor. After Romeo leaves Juliet, Juliet is found crying by Lady Capulet. Lady Capulet thinks that Juliet is mourning over Tybalts death, but is actually mourning over Romeo’s exile. Lady Capulet starts comforting Juliet by telling her that they will get revenge on Romeo for slaying Tybalt, Juliet replies by saying she will never be satisfied with Romeo until she beholds him-dead,(Shakespeare 3.5 ll. 87-93).
However, there is a an obvious counteract shown by the younger generation, as they realize that their actions towards the girl/s were wrong. At the end of the extract Priestly creates drama, through the aspect of old versus young, when Sheila releases her feeling for the girl and her disgust for her parents, criticising their way of interpreting these events but soon cut down by her parents: “(Bitterly) I suppose we’re all nice people now.” Sheila believes that what they did to that girl was cruel and realizes it whereas her parents and Gerald do not. Sheila throughout the play has gained more influence and power as she contributed and fought for what she though was right (verbally to the other characters). To emphasise the drama and significance in this extract, Priestly shows her stand up to her parents, this is shown through the stage directions of her “bitterly” questioning her father, mother and Gerald. From the beginning of the play Sheila has always described and presented to be different from the others.
This gives us the understanding that Lesbia is someone who is more concerned with numerous sexual encounters than with love. There is also a sense that Lesbia manipulated Catullus with her words and promised the world, even though she never planned on staying with him, in poem number 72. Catullus says “You used to say that you wished to know only Catullus, Lesbia, and wouldn't take even Jove before me” (72, 1-2). This manipulation over time makes Catullus bitter towards her, which causes him to think of her as “utterly
Moreover, it’s only when Ophelia dies that she is finally able to escape the “whore” image that the men in the play had branded her with. She becomes a “worshipped Madonna as Hamlet and Laertes can then safely whore their own self-constructed images of pure love for her as rationale for violence against each other.” (Stanton 179) Furthermore, once Hamlet has been abandoned by his father and engulfed by his mother’s relationship with Claudius, Hamlet believes the only way to remake his mother is to “remake his mother into the image of the Virgin Mother who could guarantee his father’s purity and his own, repairing the boundaries of his selfhood.” (Adelman 31) In order to accomplish this, Hamlet needs to reunify his mother by convincing her to divorce herself from her sexuality. (Hamana 145) Through this Gertrude “remains relatively opaque, [mostly] a screen for Hamlet’s fantasies about her.” (Adelman 34) However, Hamlet is allowed to delude himself in this fantasy and thus gains a calmer, more self-aware perspective. When viewing Gertrude character, it has many correlations with Celtic,
I did love you once. (III.i.111-115) Hamlet promised to marry Ophelia after he took her innocence. He then began to mistreat her and finally … left her. When Hamlet realizes Ophelia’s father caught him in a trap he becomes furious. In fact he becomes so angry that he tells Ophelia that he never loved her and that instead of marrying she should go to a nunnery rather then pass on her genes to children.