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The role of the woman in literature
The role of the woman in literature
Concept of sexuality in literature
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Olenka was quite a darling. She was quiet, and always had an imaginative smile. Unfortunately, she had a personality defect. Her problem was the fact that she didn’t have a personality of her own; it was always that of her lovers.
In the beginning of the story she was married to Kukin. When she was with Kukin, he complained about the rain on his garden. He said, “Almost every evening it rains. It is simply awful! The public doesn’t come, but I have to pay the rent just the same, '; (172). This foreshadows what is going to happen to Olenka when Kukin dies. She worked hard at taking on his beliefs and opinions, and mastering his way of thinking. She acted as a mirror of her husband and it was her only way of life. Then when he died, her mirror was broken. This left her not knowing what to do cause she had no personality anymore because it died.
After Kukin’s death, Olenka did nothing else but cry and dwell on the fact that she had no one to love. As she mourned, she said, “ my precious, my darling! Why did I ever know you and love you! You poor heart-broken Olenka is all alone without you,';(174).
Then Pustovalov came along, the timber merchant, and she once again fell in love. This changed her life from the theater into a new life of business. Her husbands ideas were hers. If he thought the room was too hot, she thought the same.
At one...
Throughout the short story, “The Lady with the Lapdog”, Chekhov’s strays away from the classical love story expectations by realistically portraying Anna's and Gurov's relationship. Chekhov follows the structure for a romantic tale to a bare minimum, but, ultimately, diverts from the commonly known aspects of a love story, as described by author Leigh Michaels’ “The Essential Elements of Writing a Romance Novel”. Chekok’s alteration from a classical love story thwarts the reader’s expectations by demonstrating realism and uncertainty found in human nature. Chekhov’s technique of applying a realistic lens on this couple raises more questions than answers, leaving much ambiguity for the reader’s own interpretation. By exploring the nuances in human nature, Chekhov illustrates a forbidden love that juxtaposes the universal rubric for what a love story should contain.
Before she knew it, Anna quickly got overtaken by this passion, and it ultimately led to her own demise, as the love that Vronsky had to offer quickly diminished. This became a problematic force since Anna practically gave up everything she owned to chase the life that this man offered her. She did it in such a manner that she could no longer return back to her family or normal lifestyle. In a way, she was victim to a lifeless marriage by which she found herself to pretend to be happy. When Anna finally gets a shot at love, she realizes all that she has missed, and it is easy to see how she falls victim to such an enamored opportunity. Anna simply wanted to know that she mattered, to have been appreciated and admired. Unfortunately, being a
Pechorin finds entertainment in playing with people's lives and emotions. Princess Mary, the young beautiful and slightly pompous Moscow princess and Grushnitisky, a young, arrogant, superficial and self-centered cadet, two young people beginning to fall in love, are Pechorin's victims. "The stage is set," Pechorin cries, delighted, to his friend Dr. Werner, "We'll see if we can provide a denouement for this comedy. Evidently fate means to see that I am not bored."(102-103) Envious of their happiness, particularly Grushnitsky's, as well as their utter blindness, Pechorin takes it upon himself to make sure their relationship is obliterated. He uses their individual and human weakness against them.
...es confused when he realizes that he has feelings for Princess Marya, and rather than being conflicted on who to choose, he merely wonders how he will explain to Sonya the situation without overly hurting her. This is an example of a more powerful love, one that his ‘soul mate’ Marya inspires in him. Nikolai is almost easily able to cast off his lifelong ‘love’ for his cousin in favor of this strange and “frightening” woman, with whom his future is unimaginable simply because he does not know her character or quirks, but her soul. When the two meet for the first time in proper circumstances, each knows exactly what to say, and Nikolai felt that he didn’t need to say that which he had prepared, but what “instantly and always appropriately came to his mind.” It is with this comfort with Marya that Nikolai is able to successfully run his estate later on in the novel.
Throughout the story, you can see that this character represents a typical human in our society. And finally Lenina, she is the woman who sleeps with every man who will talk to her. She causes both John and Bernard lots of problems throughout the story because of her beauty and way of thinking.
In order to understand the nature of Gurov and Anna’s “love”, the question of “Who seduced who?” needs to be answered. When looked at the story step by step, the answer would be Gurov, since he w...
He caused her an anguish so intense that she would rather have died than lived with her husband 's repulsive stares and disapproval. Georgiana 's love for him was so unwaveringly strong that she was willing to go to extreme measures in order to please him, but her flaw was connected to the very essence of her being and the depths of who she was as a person. Longing for her husband 's approval, Georgiana simply cannot be blamed for her death; she craved Aylmer 's love, but his selfish motivations and inability to accept an imperfect life, led to her
Presented with many obstacles and complications to overcome, we know that Hermia is the protagonist in the play. She has relations with almost all the characters in the play. The first and most important relationship is her love, Lysander. From the very beginning we see that Hermia loves Lysander with all her heart and soul and he loved her the same. The only tragic flaw in their relationship was when Puck put the magic juice in Lysander's eyes and he fell in love with Helena. Hermia felt sad and rejected when that happened. But when Puck finally realized that he had made a mistake and corrected it, Hermia and Lysander were in their heavenly bliss of love once again.
Olga has no trouble in adapting herself so that she can love each of the various men in her life. Her capacity to love and to give of herself is all encompassing. In her first marriage, she loves a man who is constantly complaining and in misery. Chekhov writes that in Kukin's world it "Rain[s] every day." In her second marriage, all her husband seems to have time for is his business, but still she loves him completely. This husband "sat in the office till dinnertime, then he went out on business." In her third relationship, the veterinarian tells her that she is "really annoying," yet she had "found new happiness" with him. The most telling evidence of Olga's ability to love comes from her relationship with Sasha. Sasha feels smothered by Olga's love and tells her to "leave me alone" and cries out in his sleep, "I'll give it you! Get away! Shut up!" Even though her love is not returned in kind, Olga is completely devoted to the child, and he is her world.
"The Bear," which is a classic one-act play written 1900, is one of the great works of Anton Chekhov, which is very much about a widowed woman. The Bear can be regarded as a comedy since it is to give the audience entertainment and amusement. This comedy reveals the fine line between anger and passion. The theme is about a strange beginning of love between Mrs. Popov and Smirnov. It demonstrated that love changes all things it touches. Dialogue of the characters, the action of the characters, and the characters themselves shape the theme. Unbelievable actions and change in mood on the part of the characters show that love can sometimes come from an odd turn of events.
Despite Tolstoy’s intentions of ultimately turning “Family Happiness” into a novel, an intention which one would expect would render any temporary stopping place awkward and convey the wrong idea, the ending of the story is not actually as disjointed or raw as one would perhaps expect of an unfinished work. There is ample suggestion from the beginning of Sergey Mikhaylych and Masha’s relationship that the two lovers do not fully understand each other or themselves, and set expectations for their marriage based on these misunderstandings so that neither character’s expectations can possibly be met. Masha’s eagerness to appear mature enough leads her to put on the affectations of the personality she thinks Sergey is seeking in her, and in doing so she suppresses her own desires by casting them off as childish. Sergey, on the other hand, overestimates the maturity and wisdom of his own feelings by failing to see the distinction between life experience, of which he has a great deal, and romantic experience, of which he has virtually none. He substitutes the former for the latter in his perception of the situation, but in doing so, misconstrues his own desires. These misunderstandings of both themselves and each other are established in the story before the couple marries, and while it is possible for their love to change shape or to end altogether, it is impossible from its beginning for it to maintain its initial passion.
Later, Olenka finds herself married to a man, by the name of, Kukin, and Kukin being her first husband. Kukin is someone whom Olenka feels she cannot be without.
...rrying her to you” (Chekhov 159) as everyone is packing up and departing from the cherry orchard. Lopakhin could offer Varya many opportunities and provide her with a life of wealth, which Lyubov does not have anymore. The motherly and watchful role that Lyubov plays relates to anyone who has a nurturing role in his or her life. Throughout time, the mother’s need to provide and better her children’s lives makes Lyubov’s character a timeless and cross-cultural role.
Another new family - a union of Natasha and Pierre Bezukhov . Each of them is a special person , but to make concessions to each other , as a result , they form a harmonious family . In the epilogue to the example of the family relationship of history can be traced to the relationship between individuals . After the war of 1812 in Russia arose a different level of communication between people , erased many estates border that led to the creation of new , more complex families.
Firs Nikolayevitch is Madame Ranevsky’s servant who is eighty-seven years old. He might be a little bit senile but he is still the only link to the estate’s happier past. Firs is always commenting on how life on the estate used to be much more pleasant. He explains how his master once went to Paris on a “post-chaise,” which is a horse, instead of traveling on a train as they do presently. He also talks about how life was before the serfs were freed and even though he was born a slave on Madame Ranevsky’s property and was freed, he stayed on the estate because he had no where else to go like many others. They had been given the freedom but they lacked the tools to be successful on their own. Firs questions the effectiveness of the Liberation: “And when the Liberation came I was already chief valet. But I wouldn’t have any Liberation then; I stayed with the master. I remember how happy everyone else was, but why they were happy they didn’t know themselves.” He is living proof of this because society has changed and he is still locked in the past. Lopakhin, who comes from a background similar to Firs, has been able to adapt to the modern society and become a success. Firs represents the old classic system and the times that have past.