Plot And Character Of Torru Dutt's Only One English Novelist

In the opening, she shares her childhood encounters with women in prose with the children’s rhyme “a little girl who had a curl”. This personal anecdote introduces the topic of the portrayal of women in literature, as well as establishes a connection with her audience.

Women in India are looked as housewives, who have to please her family especially her husband, therefore education is rarely an option for girls in India. Neeraj who is fifteen years old lives in India with her father, mother, sister and other relatives. She does many chores, as well as grazing goats, and farming. Just like in Afghanistan, the boys never do house work, so while she helps her mother with the house work her brothers play outside. Neeraj dreams of becoming a teacher, and building a school for her students. Since she has to help with the house work, she attends school at night, by the time she gets back her family members have already gone to bed. To make things worse for Neeraj, a drought occurred in the year of 2006; her parents took her out of school, so that she could find green pasture. While she was gone she did not study, making her fall behind in school. When she returned four months later, she worked hard to get caught up again but it was hard. Since, many parents began enrolling their kids in public schools during the day, the night school was closed down. Neeraj’s teacher did his best to help her get into the public school, but because Neeraj had forgotten so much information, she was placed in second grade. All the younger kids made fun of her since she was so big, and did not know anything. Neeraj ended up dropping out of school; her teacher says that “is up to her family to decide what it will be like for Neeraj.” Neeraj’s parents plan to marry her to a young educated man. With this in mind, Neeraj is not planning on returning to school, instead she is waiting to be married, and to form a family of her own. Therefore, if Neeraj does not marry an educated wealthy man, she will not live a prosperous life. Moving on, there is one last kid, whose name is Ken, who as well has great dreams of completing

In Rebecca du Maurier appears to conform to the conventions of the romantic genre however, du Maurier has also subverted the genre of romance through her representation of the relationship between the narrator and Maxim and the structure of the novel. She has also incorporated of elements of the gothic genre and the psychological thriller.

me, Brother,” he cried, and he leaned toward the coffin. His hand, trembling, reached out,

The theme of parental mourning has been a universal one throughout the centuries. In the literature on bereavement, writers repeat certain themes, thoughts, and reflections; they talk of the powerful and often conflicting emotions involved in "the pain of grief and the

In addition, one can also argue about Paulina’s love-hate relationship with Gerardo, as she is clearly very emotionally attached to him, yet seems as though she treats him with a sort of disrespect or harsh manner. Paulina’s strange relationship also brings the audience to question this woman’s sense of judgment, and maybe even her past. Ironically, later she refers to him as ‘my little man’, contrasting with how he called her, and making sure that Gerardo knows that he is her husband, and she’s in charge.

Together they sang a song known all over their country. They sang loud, and with pride for some greater force couldn't help but here their desperate cry for help. As the solemn song drew to a close, the people heard a big, treacherous, man's voice boom from above. “A young girl will fall as the crop falls. Once she has found true love she will be replenish her and as will the hearty crop!” Thunderous cheering roared through the church along with tears of joy. The elders gathered all of the young ladies in the village and kept them together to keep watch over. Bianca felt out of place. It surely could not be her the voice was referring to. She was just a humble girl and her family needed her. As Bianca began to leave she became light headed and fell over. She was the one the man had prophesied. The elders rushed over lifting her towards the gods. As she weakened, so did the crops. The village waited patiently for a young man to arrive with the love to heal Bianca and the wheat crop. In the late months of the year a horse’s load gallop was heard throughout the village. Men and women alike fleeing their homes to see. To their delight, they

These weeping scenes all convey how crying is a human sensation caused by suffering. Monica “wept for [Augustine] before [God] more than mothers weep when lamenting their dead children” once Augustine announced his lack of faith in Catholicism (Conf. 3.19). She wept because of the lack of spiritual guidance her son was receiving from God. Monica used this mortal emotion in an attempt to get God to listen to her and grant her prayer, which was to see her son follow Catholicism. Monica also “wept and lamented” when Augustine left for Rome by deceiving her (Conf. 3.15). She was suffering because “she loved to have [Augustine] with her” and Augustine left her in Carthage. Again, this act of weeping illustrates a mortal suffering created by physical or spiritual loss.

The narrator of the story who is the main character and unnamed, this symbolizes her significance as if she unimportant or a nonfactor especially for the era that this story takes place where women were not equal to men and often isolated to the home during illness and to raise the family. The narrator is aware of her husband John’s behavior towards her and her illness. She from the beginning doesn’t trust John her husband

Thesis: Mary explains her essay with use of the word “cute” and she does it by associating it with others expressions that means fake, plastic, diminutive, powerless and trainable, and inferring that nature is not cute, but wild and powerful.

       As the tale begins we immediately can sympathize with the repressive plight of the protagonist.  Her romantic imagination is obvious as she describes the "hereditary estate" (Gilman, Wallpaper 170) or the "haunted house" (170) as she would like it to be.  She tells us of her husband, John, who "scoffs" (170) at her romantic sentiments and is "practical to the extreme" (170).  However, in a time

His hopeful mood allows the reader to comprehend the level of emotional connection he had to Annabel. This proves the speaker’s love never being deceased, despite being separated from his true love forever. On the contrary, in “Funeral Blues” though the deceased loved one is not revealed to be either a family member nor a partner to the speaker, it evident to see the pain and grief brought upon the speaker as he/she demands the whole world to

These constant beatings in Maggie Johnson’s home, furniture thrown from parent to parent, and every aspect of her family life as being negative, her family situation is not an extremly healthy one. But, despite her hardships, Maggie grows up to become a beautiful young lady whose romantic hopes for a more desirable life remain untarnished.

However, “she knew that she would weep again when she saw the kind, tender hands folded in death” (159), but it’s just a reaction, one that society expects her to have, and one that many have when dealing with the death of someone they know. Chopin

Bianca was described as sweet and quiet. She never spoke out of turn, and was always obedient, qualities that men desired in their future wives. For the majority of the book, this is how Bianca acts, but the audience watching the play is able to see small parts where there is another side of Bianca a side that she keeps hidden from the males in her society. One clear example of this is in Act 1 Scene 1 when Bianca whispers to her sister Katherine so that no one else can hear her;