Rosemary’s mother came into Rosemary’s room one morning to wake her for school. She probably knew by the look on her mother’s face that this morning would be one of those that fills her life with dread. As she gets dressed, she begins preparing herself for what she knows is probably coming next.
After that a hand pops out of the sheet attempting to nail the floor in extreme anxiety, attempting to latch on the floor with prematurely grown fingernails. The second hand creeps out equally doing the same both arms fumbling about due to the slimy fluid from inside the corpse. Upon slipping the mystifying figure collapses on the side of his face and cries out in pain, “What has happened to me!” He screams. Instantly Mrs. Samsa recognizes that tone as her own, it is her son. With all fear abolished from her body she runs to help him and attempts to relieve him from his pain, both forces work chaotically against each other. Once up Gregor takes hold of the sheet in which he perished in, and with it conceals his privates. The two women stare in astonishment at one’s son and the other’s brother.
Loureen, the main character in the story, is described as demure housewife, who makes her appearance in the play while having a fight with her husband Samuel. “Damn you to hell, Samuel!” (Nottage 736), after this expression Samuel became a pile of smoking ashes, that remains in the kitchen floor. Is at this point that the fear that abused women live in after being abused, is reflected, “I didn’t mean it really. I’ll be good if you come back …” (Nottage 737), Loureen also shows her fear, after her friend and neighbor Florence try to wrinkle Samuel’s jacket, “No! No! Don’t wrinkle that, that’s his favorite jacket. He’ll kill me. Put it back” (Nottage 741), even though Samuel was dead, Loureen was afraid to do things that may make Samuel mad and abusive towards her; her mind was still unaware that he was not longer alive.
We see from the passage above that Miranda is not sure whether her life before the island was a dream or whether it was reality. She is a character who is associated with the distinction between the two, because she lives on the island with
“Station Eleven” by Emily St. John Mandel introduces a character named Miranda early on in the book. She lived before the plague, and it is assumed that she dies. In the beginning of the book, when she is introduced, you discover that she is one of Arthur’s ex wives. However, she is much more than that. When introduced, Miranda seems like a happy, confident person. She is divorced from Arthur and is an executive at a shipping company. She teases one of her co-workers, which a timid soul typically would not do, and she described a fleet of ships as “both filled with mystery and impossibly distant, a fairy-tale kingdom” (29). She obviously loves her ships and her job, and is happy with life. Yet, she was not always like this. In her previous life, the one she lived with Arthur, she felt that she would “never belong here no matter how hard she tries” and that she is “marooned on a strange planet.
Exposition-Miranda is a sixth grade student who has had the same best friend named Sal ever since she was a baby. Sal lives downstairs in the same building where Miranda and her mother live. Her mother is a single mom who works in a law firm as a receptionist but dreams of being a lawyer. She is saddened by her position and has a fear of trust
“You’re breaking every decent human law, every decent human relationship, every decent thing that’s ever happened between your sex and mine” (114). This passage makes me really pity Miranda, and shifts my perspective of how she is truly feeling and all the actions that she has tried to escape have become justifiable. Throughout the story Clegg hypnotized me that what he was doing was right, mostly because he was telling it from his perspective, and I wasn’t in the perspective of Miranda constantly. With Clegg whenever Miranda was rude to him I didn’t feel any pity towards Miranda, which was very odd, how could my subconscious be put in the back of my mind the horrid thing he was doing to this helpless girl? Even when Miranda tried escaping
Harwood revolves this poem around change, through the use of a motherly character she is able to construct a life style that has dramatically changed from free to a fairly constricted. Harwood uses the conversations of two people to get this message across, with the conversation discussing life’s progression with an old lover. “But for the grace of God…” suggests that the ex-lover is somewhat thankful for not ending up as a father figure to these children, as he can see the effect it has taken on her from when he used to know her. “Her clothes are out of date” shows her appearance has altered in the bid to live as a mother, her children are now her identity and that is what she will live to be. This poem is revolved around the negativity of losing yourself through mother-hood and the factors that slowly show that it.
Porter begins the story with Miranda and her brother Paul exploring a graveyard while out hunting. As they continue with their hunt, Paul shoots a rabbit that is about to give birth. Paul proceeds to carefully slit the dead rabbit open revealing her young unborn babies. This moment is an epiphany for young Miranda as she understands the meaning of rebirth and the cycle of life and death. Miranda later reflects upon this incident years later in a foreign city’s busy bazaar and is reminded of the event that transformed her from an innocent child to a more experienced and knowledgeable young woman.
Hulga, throughout her life has been starved for affection and loving attention. Pointer is able to get her to succumb to his wishes so easily because she is amazed that someone sincerely wants to be with her, or so it seems. Ever since she was ten, she has had her wooden stump leg, and her heart problem to live with. More recently, Hulga’s weight problem is another obstacle that adds to her isolation. Combined with her condescending attitude, these encumbrances have succeeded to separate her from mainstream society. Pointer realizes this and is able to use it to his advantage; he knows all the right things to say to her. In the hayloft, Hulga hears fond admiration for what is quite possibly one of the first times in her life. As a result, the customarily very independent, strong-willed Hulga is completely under the control of an uneducated man half her age. "It’s what makes you different. You ain’t like anybody else….She decided that for the first time in her life, she was face to face with real innocence. This boy, with an instinct that came beyond wisdom, had touched the truth about her"(404). Pointer is one of the few people in her life who was able to see the real Hulga; he saw through the cold façade.
One day in Red Bluff Julia was walking down the street and she saw that somebody was lying on the ground so she went to see who it was. The person who was lying on the ground was her best friend Baily. Julia saw that Baily had gangrene fingers and spots on her arms. Julia had wanted to save her good friend Baily so she went to find help she almost tripped on a dead cat in the middle of the road. She was able to find somebody, but by the time she got to her good friend Baily she was already gone from where she had left her she was gone. She had turned to face the person who was going to help her but she was gone.
Her desire for a better lifestyle come to a halt when she sits alongside Shaya in a stuffy apartment and observes Shaya participate in a discussion on philosophy. After introducing Shaya to Gentile books for knowledge and attempting to project her romanticized spouse onto her imported bridegroom, Flora realizes her plan for a Gentile educated spouse fails. As she is sitting in the apartment, Flora realizes that her bridegroom has excluded her from his life and her romanticized
It Was The Night. Felix’s Parents Had Been Informed That The Nazi’s Were Coming. As They Drove To Their Friends House Felix’s Parents Saw Smoke Coming Out Of The House And They Knew Their Friend Has Fallen To The Evil Nazi’s. With Only One Option Left They Knew It Was What They Knew Was Best For Felix. As They Raced To The Mountainside They Heard A Faint Sound And They Knew That Only Felix Would Survive. After An Hour Of Driving, They Reached The Orphanage Where They Grew Up In With Mother Minka. As They Hurried Out Of The Car They Saw The Nazi Flag Outside And Began To Cry. As They Slowly Dawdled Back They Heard A Voice In The Darkness Calling To Them As They Looked Up They Saw Mother Minka Running Towards Them. With A Bit Of Hope Coming Back
The text recounts the events leading up to the the disappearance of Miranda, a young British girl who is struggling to deal with her mother’s sudden killing in Haiti, where she was on a work trip. The narration by the house, her twin brother Eliot, and Ore, a Nigerian girl she meets while at Cambridge leads us to find about Miranda’s pica, a desire to eat non-nutritive substances which lapses into more nefarious, vampiric desires. This is a condition that has plagued her family, particularly the
Miranda's schooling in The Tempest shows the audience the conflicting arrangement white women in the Shakespearean drama as well as Shakespearean times are forced to act within. Paul Brown points out that "the discourse of sexuality…offers the crucial nexus for the various domains of colonialist discourse" (208) and the conduct in Prospero manipulates his followers' sexuality is the mainstay of his power. The Miranda-Prospero relationship servers to represent a sort of patriarchy, which is unarguably the system many Renaissance women and women of Shakespeare's time found themselves in. It is thus unsurprising that Prospero controls Miranda and her sexuality as well. The