Flaubert's Cat On A Hot Tin Roof

“There ain’t nothing more powerful than the odour of Mendacity”(Williams, 77) Mendacity is used effectively throughout the play Cat On A Hot Tin Roof. We witness how it tortures most of the characters in the play and its negative effect overall on the Pollitt family who as we can see suffers from the lack of association with each other. Mendacity acts as a vital part of every character’s life, it is also the turning point of the whole play which ends up causing disaster and for some happiness.

     Brick, Maggie’s alcoholic husband, is an uncaring man who has no good feelings toward his wife. For example, when Maggie buys a gift for Brick to give to Big Daddy on his birthday and Maggie wants Brick to sign the card, he says “No… I don’t have to do anything I don’t want to do”(28). Even on Big

In the play, Brick tells his father, Big Daddy, why he constantly drinks saying, “This click that I get in my head that makes me peaceful. I got to drink till I get it. It's just a mechanical thing” (Cat, act 2). Twice throughout the play, Brick is forced to confront his relationship with Skipper once by his wife Maggie and once by Big Daddy. In Act one, Maggie starts to talk about the “mistake” she made with Skipper and Brick tries to stop her saying, “Maggie, shut up about Skipper. I mean it, Maggie; you got to shut up about Skipper” (Cat). Maggie continued on making the

Of Mice and Men by John Steinbeck portrays a story about human dignity. Maya Angelou's poem "I Know Why the Caged Bird Sings" displays a caged bird who deeply yearns for freedom. Both texts share a common theme: The feeling of being unloved is the most terrible hardship.

Flaubert depicts Emma as having subtle masculine characteristics emphasizing her masculinity not only mentally but physically as well. In some cases, Flaubert uses irony to characterize Emma’s masculine features. “Yet her hand was not beautiful, perhaps not white enough, and a little hard at the knuckles; besides, it was too long, with no soft inflections in the outlines” (Flaubert 28) the narrator describes Emma as lacking the soft subtle femininity that high-class women have. The contrast of her beauty lessens her femininity in this case making her appear more tusk and masculine. Emma’s femininity gets challenged on the pivotal day of the Victorian women’s life. When the narrator describes her on her wedding day, “Emma's dress, too long, trailed a little on the ground; from time to time she stopped to pull it up, and then delicately, with her gloved hands, she picked off the coarse grass and the thistledown” (Flaubert 18-19). On her wedding day, Emma’s description walking down the aisle diffidently wearing a dirty unfitted dress metaphorically portrays Emma

In the Beginning Both Madame Bovary and Dorian Grey are kind, respectful and innocent souls. Although Emma is excited by the idea of romantics and love long before Charles meets her, she is still an innocent, polite farm girl who is religious

In this one sentence Flaubert not only gives example of how the works are repetitive, with similar plots, and dying horses "on every page," but he also manages to capture the clichéd, melodramatic style of romance novels that makes them all seem the same. The repetitiveness extends into real life as well, as Emma’s love affairs constantly lose their fire and begin to become routine, or, as Rodolphe notes, "the charm of novelty, falling down slowly like a dress, expose[s] only the eternal monotony of passion, always the same forms and the same language (154).

The Cat In The Hat by Dr. Seuss, pseudonym of Theodor Seuss Geisel, tells a story of two children at home on a rainy day alone, being visited by the Cat in the Hat and the turmoil that he causes. The Cat In The Hat is clearly Geisel’s most famous book, written in 1956 and published in 1957, considered a children’s classic today. It was The Cat In The Hat “where Dr. Seuss jubilantly breaks the barriers of the basal reader’s simplistic language and pedestrian artwork” (MacDonald 10). In The Cat In The Hat, Geisel uses this childish language and comical pictures as well as an interesting story and fun characters to not only create a successful children’s book but to deliver a subtle political message of rebellion against authority.

At the centre of this gaudery, we find Lady Catherine de Bourgh, a creature exactly fitted to the nature of her surroundings. She is large, intimidating, and self-centred, and it is interesting to note that both she and her estate invoke a sense of discomfort in those who have the misfortune to be nearby. She stirs a feeling of uneasiness in her visitors; upon Elizabeth and Charlotte's first visit, it is described that "there was little to be done but to hear Lady Catherine talk, which she did without intermission till coffee came in, delivering her opinion on every subject in so decisive a manner as proved that she was not used to having her judgment controverted" (p. 122). It is also interesting to note that Darcy's first proposal to Elizabeth takes place in this setting of discomfort, and both characters are left feeling worse afterward than before.

In Madame Bovary, Gustave Flaubert shapes Emma, the protagonist, into a woman who deceives herself, through romantic novels, into believing her life is better than it actually is. Emma—like most things in her life—romanticized what marriage would do for her. At the start of her marriage to Charles, she believed marriage would be the means at which she transitioned from a farm girl to a wealthy woman. She believed that marriage would bring her all she had longed for. However, her marriage to Charles is opposite to that. Thus, she is constantly searching for something or someone to satisfy her. She spends majority of the novel aspiring to be a part of the upper

Madame Bovary is a novel by author Gustave Flaubert in which one woman’s provincial bourgeois life becomes an expansive commentary on class, gender, and social roles in nineteenth-century France. Emma Bovary is the novel’s eponymous antiheroine who uses deviant behavior and willful acts of indiscretion to reject a lifestyle imposed upon her by an oppressive patriarchal society. Madame Bovary’s struggle to circumvent and overthrow social roles reflects both a cultural and an existential critique of gender and class boundaries, and her unwillingness to tolerate the banalities of domestic life in a predetermined caste culminates in several distinct means of defiance. Emma Bovary exploits traditional cultural values such as marriage,

Of all Emma's reasons to wish for death, disappointment in life and marriage was probably the strongest contributor. She had expected her life to be like a romance novel, where everyone was happy and rich; she grew frustrated and angry when her life was ordinary. Emma wanted Charles to be her Prince Charming, not a toad. Although Charles doted on Emma, almost to the point of smothering her, she wanted more. She

The food served was not as grand as the dishes that would be present at a high-class banquet; however, it was still sophisticated enough that the food was relatively unavailable for the lower class to be able to afford. This allows for the Bovary’s to have an air of aristocracy that masked their middle class reality. Moreover, although living comfortably, the actions of those in the middle class are still considered very basic; many of the bourgeoisie had lackluster table manners. Frustrated with Charles’ eating habits, Emma describes him “to be getting coarser in his ways;... after meals, he used to suck his teeth; eating his soup, he made a gurgling noise with every mouthful” (58). Such behaviour would be unheard of in the higher class, but to Emma, this was her unfavourable reality. Through this portrayal, she reveals her dissatisfaction with the behaviour of her own middle-class lifestyle. Furthermore, Emma’s constant sophisticated desires are incomprehensible by the rest of the middle class as the elder Madame Bovary “found her style too grand for her situation” (40). Emma views herself more as an aristocrat than a bourgeoisie, hence attempting to boast her seemingly more refined characteristics. Hoping to escape the mundane middle class, the bourgeoisie pine after the luxurious life of an aristocrat.

the wedding. Throughout the novel Emma Bovary, Charles' wife, is trapped inside a life that

Into the midst of this hodgepodge of unflattering images and commonalties, Flaubert then tosses Emma and Charles. To Emma, Charles is