Character Analysis: Laxmi Is A Victim Of Sakharam

After Nana commits suicide, and Jalil is forced to take Mariam in, he quickly looks to marry her off in order to rid himself of her. The idea was shared through all of Jalil’s wives, and it is so palpable that Mariam knows exactly what everyone wants to say, that “they had been disgraced by her birth, and this was their chance to erase, once and for all, the last trace of [Jalil’s] scandalous mistake. [Mariam] was being sent away because she was the walking, breathing embodiment of their shame” (Hosseini 48). These feelings reflect how deeply this society’s values have penetrated, to the point of women feeling in conflict with each other over struggles completely out of their control.

That the film includes these elements of feminist material reflects its modern context of a society that is not unfamiliar with feminism. In this area it challenges the original text, where within the context of the Elizabethan era, Katherina’s rejection of her inferiority as a woman is unaccepted and repressed. As Hortensio mocks: ‘ ‘Mates’, maid? …No mates for you/Unless you were of gentler, milder mould’ (1.1.59-60), he manipulates Katherina’s reference to him as a ‘mate’- a crude man- to mean ‘husband’ in an attempt to silence her. Such repression- and that of Katherina at the hands of Petruchio- though exaggerated and outrageous, was acceptable and approved of in the context of Shakespeare’s play.

Kamala soon becomes Siddhartha’s lover, and she helps him learn the ways of the city, leaving his ascetic life as a Samana behind. She then has a child that is from Siddhartha, whom Siddhartha had never met. Kamala does not have a very spiritual life, and Siddhartha influences her to seek a more spiritual lifestyle to better herself. She becomes tired of being a courtesan and realizes she can be a better person. The author brings Kamala back into the story when the news of Gotama’s advancement towards death breaks out into the villages; “One day, when very many people were making a pilgrimage to the dying Buddha, Kamala, once the most beautiful of the courtesans, was also on her way. She had long retired from her previous way of life, had presented her garden to Gotama’s monks, taking refuge in his teachings. . .” (Hesse 90). Kamala is one of the most important characters in the book because she is able to teach Siddhartha about physical love, and lead him to spiritual enlightenment.

Siddhartha begins to deviate from his holy walk in life when he meets Kamala. In Siddhartha Kamala is a pleasure woman who owns a beautiful grove outside of a larger town. “Siddhartha saw how beautiful she was

As she is not docile, the Wife must be something to the contrary, and of course

As she is not docile, the Wife must be something to the contrary, and of course

In Khaled Hosseini’s A Thousand Splendid Suns, many characters are forced to overcome obstacles in their personal lives. Laila and Mariam, the two main characters, find themselves married to the same man, Rasheed. Both had a good relationship with Rasheed at the beginning of their marriages. Soon they found that they were both being abused by Rasheed. Mariam and Laila overcome the abuse by taking matters into their own hands. Khaled Hosseini introduces the reader to the ways many Muslim men and women believe that marriages should be private and that how the man treats his wife or wives is his business. Many relationships find themselves trying to overcome an abusive marriage.

The plot of both Susan Glaspell’s “Trifles” and Henrik Ibsen’s “A Doll House” provides scope for a few scenes that lack the presence of all or any men. These scenes, consisting of communication between the female characters, assist in developing the theme of women openly defying the fact that the society they live in is primarily run by men. All the power and authority in their society, no matter the situation, belongs to the men while the women are simply excluded. The women in these plays defy the norms set by society and manage to evade the expectations of their patriarchal societies.

The most prominent woman figure in this play is Linda, but the male characters in this play also give us insight into women’s roles and help feed the feminist analyses

Kamala, is the main, and indeed, the only female main character in the novel Siddhartha, by Hermann Hesse. Kamala, a wealthy courtesan, is the bridge between the lay people reading the novel and the main character Siddhartha, who is more of a holy man, than a relatable character. Kamala is a kind, yet selfish women who allows for the reader to connect to Siddhartha, by making him more imperfect. Later in the novel, even after Siddhartha has left town, she unintentionally brings Siddhartha, his son, and again provokes him to react as an imperfect human rather than a holy man. Thus, Kamala, while not necessarily a large character, she is integral to the plot and to the reader's ability to connect to the novel.

“Trifles” a play by Susan Glaspell, emphasizes the thought that women were kept in their homes and their contributions to the home and family went unappreciated and unnoticed. The play gives readers a view of how women were view and treated during the 1900’s. As a female analyzing the play, Mrs. Wright’s motive for killing Mr. Wright was quite clear. Susan Glaspell gives her readers a feminist approach, to demonstrate how Mrs. Wright’s murdering of her husband is justified.

Lynn Nottage’s Pulitzer Prize winning play Ruined takes place at Mama Nadi’s brothel in the Congo where a civil war is being waged and coltan is the new gold being mined from the earth. Mama Nadi reluctantly takes Sophie and Salima into her establishment to work alongside Josephine as entertainment for miners and soldiers. Before coming to Mama Nadi’s, Sophie, Josephine, Salima all experienced rape. The word rape is so common in our society that it has lost its intensity and heinousness to a person who has not experienced it. Rape is a general term to describe what the women experienced but it does not give any hint to the struggle that comes after the event. For example, what it does to a person’s mind, the lasting scars on someone’s body, and how it can change a person’s personality. Many critics assume that rape is the tragedy in the play, but Nottage’s use of the word “ruined” emphasizes that the real tragedy is the consequences of those soldier’s actions on these women 's lives and how it affected their interactions with society.

In John Patrick Shanley’s play, “Doubt: A Parable”, and Paula Vogel’s play, “How I Learned to Drive”, both have strong themes of sexuality in the forms of sexual predation and pedophilia. Although these two stories are considerably different, the message is the same. “Doubt” is a play that concerns a mystery over whether or not a boy (Donald) has been raped by a priest, and “How I learned to Drive” is a play about a woman (Li’l Bit) who reminisces about the sexual molestation and the emotional manipulation she had to endure at the hands of her uncle. Although these plays both have main theme of sexuality, they each have vastly different settings, desires, and outcomes. In this essay, I will compare and contrast the theme of sexuality in both of these plays.

Kamala is the master tutor of the material world, this makes her the opposite of Gotama who is the master tutor of the spiritual world. Whilst Gotama teaches his followers the virtues of patience and inner peace, Kamala focuses on a lifestyle of “living in the moment”. She also contrasts the Samanas whom Siddhartha has become when he first meets Kamala. The Samanas live without personal property but Kamala demands items such as clothing and jewelry from clients for her courtship.

The setting of the play which takes place in the early twentieth century has established the theme that women have been looking down by men. ‘Trifles’ that is used as the title of the play has further foreshadowed the theme of the play in which discrimination of women will happen in the play. During the investigation of Mr Wright’s death, the men that involved in finding out the murderer have despised