Marriage Proposal

A marriage proposal is an occasion where one person in a relationship asks for the other's hand in marriage. Overtime, marriage proposals have changed in virtually all cultures. In the 1800s, marriage was more for social gain or monetary gain. However, marriage for love wasn’t unknown. William Collins proposal to Elizabeth Bennet in Jane Austen’s novel, Pride and Prejudice and Bradley Headstone’s proposal to Lizzie Hexam in Charles Dickens's’ Our Mutual Friend are perfect examples of two different types of marriage proposals that may have been giving during the 1800s. Analyzing Mr. Headstones and Mr. Collins’ techniques and the language used in their proposals reveal the weaknesses and strengths of their proposals.

The lovers are in love with themselves being in love. They love each other, but are more preoccupied with being seen as lovers. They often feign mild hatred. She is extremely aware of being watched and plays with the audience for sympathy in their plight and ccasionally flirts with spectators.

During a chance encounter, Danilov and Vassily meet the beautiful and educated Tanya, a soldier in the Stalingrad home defense campaign. They both fall in love with Tanya. In an attempt to win Tanya’s love, Danilov offers Tanya a safer position within the military, however, she prefers to fight with a rifle in her hand and looks to Vassily as a hero worthy of praise. His shy uncertainty and obvious discomfort in her presence only serve to intensify their feelings for each other.

Marriage is the union of two people who want to spend the rest of their lives together.In order to get married, either the man or woman in the relationship must propose to their partner. In Jane Austen’s Pride and Prejudice, Mr. Collins proposes to his partner in a self-centered and detached manner, whereas Mr. Headstone, in Charles Dickens’ Our Mutual Friend, proposes in a romantic and touching way.

Though language each character tried to define life and their struggle in hope of controlling it. In one scene, Masha in her drunken state unmasks her true emotions and declares her love for Konstantin, upon rejection she proclaims the meaninglessness of life without love and how in the end the only result of it is misery. Her pretence of having a callous exterior was to masks the underling pain that she is unable to deal with. Dim lighting accentuated the foreboding mood of misery and her off centre positioning on stage underpinned the neglect of sympathy she was receiving from other characters, most importantly Konstantin, due to the seemingly “unimportance” of her character. At the pinnacle of emotional pretence, Irina as a character constantly maintains a façade of extravagance. Upon returning to the lake, she vociferates the “perfection” of her life and career, but moments’ later runs off stage and sobs in despair. The use of split staging depicts Irina’s battling emotions and her fear of showing emotional sincerity least it enhances her vulnerability. Throughout the play the seagull is a recurring motif and appears in peaks of tension in the play. In this case it reinforces the theme of the existentialism revealing the characters denial of their misery and unwillingness to change their

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The plot begins with the introduction of the protagonist: “a young man named Oleksandr.” He wants to see rusalky. In fact, “it was all he could talk about or even think about.” He considers seeing one, and even though everyone told him “not to do it,” he would “quietly continue his scheming.”

The plot of this play centered around the family of Alice Sycamore. The Sycamore family includes Alice Sycamore, her parents Penny and Paul Sycamore, her sister and her sister’s husband, Essie and Ed Carmichael, and Grandpa Martin Vanderhof. The family is extremely eccentric to say the least. They are a crazy bunch by many people’s standards. They do things like eat watermelon and cornflakes for dinner, make fireworks in the basement, own a pet snake, and constantly have the house packed with interesting characters. Some of the other characters in the play are Donald and Rheba who work for the Sycamores, the Russian dance teacher of Essie named Mr. Kolenkhov, and the confidant of Paul Sycamore, Mr. De Pinna. Each character is developed with many unique traits, each having their quirks and nontraditional hobbies. Essie has a passion for ballet despite the fact that she is awful after 8 years of

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Gurov has found a woman he can love for the rest of his life, and he hates the fact that she is not with him. She has left him just as the way he would leave the women he has had affairs with. He feels that she is the only woman to make him happy in the world. His own past has doomed him; He knows he can never be with Anna but trys to make a effort to see her again in S--. He arrives at her home to see that she is enclosed by a long fence, slammed in with nails, a prison he imagines it to be. Desperately seeking to find her he attends a theater at night. He sees her there with her tall husband, wearing a uniform. While her husband is gone, Gurov approaches her to speak with him, as she leaves the auditorium to avoid him. Gurov catches up to her and they speak for a short while and Anna promises to him that she will come to Moscow to visit him.

We will begin with an analysation of his family situation. Praskovya, his wife, had been a love constructed from the start of an economic and sociological expectation rather than that of a true courtship. The happiness therefore of the union was derived solely of a necessity to fulfill a desire on the part of others for a “success” of sorts, surely her desire as well. “Ivan Ilyich could have counted on a more illustrious match, but even this one was quite good. He had his salary, and her income, he hoped, would bring in an equal amount. (Tolstoy, 56)” Tolstoy goes on to make several remarks on the benevolent nature of the relationship between he and his wife. The arrival of his children creates no great marker in his life, and proves to be little more than a factor in his ever-lengthening retreat into his life of solitude and work.

88). Treplev sarcastically refers to Trigorin as a "great luminary" and says that Nina melts in his rays. Treplev hopes to show Nina that Trigorin has the power to manipulate not only her, but also his mother Irina. In trying to prove this point to her, he says, "A fine character! you and I nearly quarrel over him, while he's in the drawing-room or garden or somewhere, laughing at us, and - drawing Nina out, trying to make her see what a genius he is" (II, P. 96-7). Both of these conflicts are primary to the play and the development of the characters. These problems are also complicated by Irina's obsession with being the center of attention. Treplev is most often at the receiving end of her need for attention, but she does not neglect the other characters of the play when it comes to her egotism.

    Anton Chekhov uses The Cherry Orchard, to openly present the decline of an aristocratic Russian family as a microcosm of the rapid decline of the old Russia at the end of the nineteenth century--but also provides an ominous foreshadowing of the 1917 Bolshevik Revolution in the disparate ideals of his characters, Trofimov and Lopakhin, however unintentionally. The Gayev family and their plight is intended as a symbolic microcosm of the fall of the aristocracy in society at large. Though the merchant Lopakhin is presented as the character who holds values of the new, post-aristocratic age, the student Trofimov espouses the political sentiments that will ultimately replace both the

Throughout the novel, the theme of the contrasting old guard juxtaposed with the new guard holds an important position. It also held an important place throughout the purges and show trials. By underlining this idea throughout the novel, Koestler shows both the importance of this idea and of the prominent differences these groups had. The characters of Wassilij, Vera Wassiljovna, Ivanov, and Gletkin illustrate the idea of old vs. new that was underlined throughout the purges. First mentioned on page 5, Wassilij (initially called Vassilij) is the porter where Rubashov lives. He had fought with Rubashov’s regiment in the civil war and clearly respected him. Next to his picture of No. 1, Vassilij had hung a picture of Rubashov (6). Vassilij is clearly a member of the older group of Russian society. He was particularly religious, an idea that No. 1 had worked to stamp out. This idea was mentioned the first time he was mentioned—when he added a “heartfelt Amen under his breath, so that the daughter should not hear it…crossed