Analysis of the relationship between Macbeth and Lady Macbeth Essay Example for Free

Analysis of the relationship between Macbeth and Lady Macbeth Essay Lady Macbeth is a complex and intriguing character she presents various elements in her character, often surprising us with sudden turns of personality. This reflects with Macbeth and her, causing various changes in their relationship drawing them both closer together, and pushing them away from one another. When we first meet Lady Macbeth in Act One, Scene 5, she is reading Macbeths letter. This is the letter that openly tells word for word what happened and what the witches told Macbeth. He obviously had no hesitation in being so open with his wife, which is notable. Straight away, Lady Macbeth takes from the letter her own interpretation, saying that she knows that Macbeth must now kill Duncan so that he can be King as the witches have said, but she also analyses his nature from the letter, fearing that he will be too good natured to carry it out. This suggests that she knows at this point that she is going to have to persuade him. As the scene progresses, an Attendant comes in and tells Lady Macbeth that the King is on his way to the castle to stay with them. Once he leaves, Lady Macbeth is speaking as if she is ultimately sure that this murder will go ahead. But she is fully aware that it is going to be emotionally very difficult to go through with, and she calls upon evil spirits to assist her murderous plans. Come, you spirits, That tend on mortal thoughts, unsex me here And fill me from crown to the toe top full Of direst cruelty; She does not want to have any human emotion within her, as she knows that that will cause her to possibly back down and not go through with her plans, so she begs that she lose her inner feelings of conscience; Stop thaccess and passage to remorse That no compunctious visitings of nature Shake my fell purpose nor keep peace between Theffect of it. At this point Macbeth enters she greets him with notions of future greatness, almost as if she is already beginning to tempt him with her ideas of murdering Duncan. She urges him to keep a welcoming look on his face when the others arrive, so as not to give away their deadly intentions. At the end of the scene Lady Macbeth gives him words of comfort by telling him not to worry, she will take care of things. Even that small gesture goes to show how controlling she likes to be, especially of this situation. The next scene that Lady Macbeth appears in is Act 1, Scene 6, where she has a brief appearance. She comes in simply to welcome Duncan with elaborate courtesy, almost over the top in her greeting. She is obviously making every effort to lull Duncan into a false sense of security. She also makes notable reference to the loyalty, obedience, and their gratefulness for his past honours to Macbeth and herself. This is a perfect example of the sort of open lying and falsehood that seems to come easy to Lady Macbeth. She has no trouble with coming out with any sort of lies so that her plans may run smoothly. This is evident of her character throughout the play. The next scene Lady Macbeth is in, Act 1, scene 7, is when she comes in straight after a monologue from Macbeth where he is struggling with his conscience. Now he has been left to his own thoughts for a while, he has began to think back to all the times that Duncan has helped and honoured him, and is quickly coming up with more and more reasons against going ahead with the murder. Once Lady Macbeth enters, Macbeth tells her that he is now not going to go through with it and Lady Macbeth reacts very negatively. She immediately accuses him of not loving her, claiming that if he did then he would go through with it. From this time Such I account thy love. Art thou afeard To be the same in thine own act and valour, As thou Art in desire ? This is blatant emotional blackmail, but when Macbeth doesnt back down, she quickly gets more and more harsh with her words. She borders on over dramatic, while maintaining every sense of meaning what she says, (which in itself is debatable). She says that Macbeth is no man if he is to break such a promise. This reference of not being manly is also used later, by Macbeth himself, when he accuses the two murderers of not being real men, but dogs. What beast wast then That made you break this enterprise to me ? When you durst do it, then you were a man. And to be more than what you were, you would- Be so much more the man. She then speaks the worst reference of all-she tells Macbeth that she would rather brutally kill her own child than to break such a promise. I have given suck and know, How tender tis to love a babe that milks me: I would, while it was smiling in my face, Have plucked my nipple from his boneless gums And dashed the brains out, had I so sworn As you have done to this. All of her words are pure shock tactics, attempting to make Macbeth feel awful for even thinking of disagreeing with her. And, just as she wants, he breaks and agrees to carry on with their plot. She reassures him that it will all go smoothly, and she will drug the guards, so that they can later be blamed for the deed. Again, she is reassuring Macbeth, and he is taking in everything she tells him. This is commonplace in their relationship, with what we have seen of the couple so far. The next scene our Lady appears in is Act 2, scene 2. Lady Macbeth has drugged the bodyguards as she stated she would, and is waiting on Macbeths return from killing Duncan. She is exhilarated with excitement but fears that the murder has not been gone through with. However soon after the scene begins, Macbeth returns, bloody daggers in hand. He tells her that he has in fact killed Duncan, but is distraught. He is obsessed by his inability to say Amen after his cruel deed had been done. He is also transfixed by a voice that he had heard, crying that he has murdered sleep and would never sleep again. Still it cried, Sleep no more to all the house; Glamis hath murdered sleep, and therefore Cawdor Shall sleep no more: Macbeth shall sleep no more. Lady Macbeth in her usual non-sympathising way dismisses his hallucinations and orders him to put the daggers back by the guards. Who was it, thus cried? Why, worthy thane, You do unbend your noble strength to think So brain-sickly of things. Go and get some water And wash this filthy witness from your hand. Why did you bring these daggers from your place? They must lie there. Go carry them and smear The sleepy grooms with Blood. Macbeth, changing his usual role in the relationship, refuses! Ill go no more I am afraid to think what I have done; Look ont again, I dare not. Lady Macbeth seems a little taken aback, but bossily takes the daggers to put them back herself. She leaves Macbeth to his own thoughts. A knocking sound frightens the already very fragile-minded Macbeth, and on Lady Macbeths almost immediate return, she tells him to pull himself together, and smoothly plans an alibi. This scene is another clear cut example of Lady Macbeths dominant role in her and her husbands relationship. It seems Macbeths strength in life is found within Lady Macbeth. And Lady Macbeth herself feeds on this. So this situation is a fantastic opportunity for each of the two to show how they in their own way depend on one another. The next scene Lady Macbeth appears in, is at a climax point when Duncan is found dead. When Lady Macbeth enters, she is told of the news, and she, smooth as silk, acts suitably shocked at the news. This would have been substantial enough, but then when Macbeth re-enters to tell them all that he has killed the two guards, Lady Macbeth attempts to take the attention from him, by fainting. Of course, this as planned takes eyes away from Macbeth, and the moment is broken. Some might say however, that at this point Lady Macbeth is acting of rather high suspicion from being so overly-dramatic. But we have to assume that they are already so distraught about Duncan, and still so wrapped up in all of the goings on, that they miss this-which of course suits Lady Macbeth down to the ground! 2 scenes later, when Lady Macbeth next appears, Act 3, scene 1, she is now heralded as Queen. She only has presence there for 3 short lines, but essentially helps Macbeth to invite Banquo to that evenings banquet, and again is almost overly welcoming, which might, looked at in other eyes, look again rather suspicious. The next scene that Lady Macbeth appears in is Act 3, Scene 2. The scenes between her appearance and this one, show Macbeth hiring murderers to kill Banquo. This is a massive pivotal step for Macbeth, as he is clearly taking matters into his own hands rather than relying upon his Lady. He is however still very wound up about the murder and what has gone on. This reflects into Lady Macbeth, as in this scene she is shown to be rather troubled at this point, because Macbeth is still utterly distraught at what has gone on. She advises him not to brood at what has gone on, but this makes little difference. This may be because he is simply too upset to notice her help, but may also be because he is ceasing to listen to her so much. Macbeth then goes on to talk about how he even envies the peace that Duncan has now that he is dead! It was certainly not part of Lady Macbeths plan for Macbeth to get so upset, and I dont think shes quite sure how to handle it! Then however, Macbeth turns his attentions to telling his wife to pay special attentions to Banquo that night at the banquet. He hints darkly to her of dark deeds going ahead that night. This is almost teasing her with information-he knows that she thrives on being the one in control and is almost lavish with his words. At this, Lady Macbeth says nothing, but we can but imagine how she would be feeling to have the notion that Macbeth is doing things without her guidance or leadership. The next scene she is in is Act 3 Scene 4. Banquo has now been killed by Macbeths hired murderers. This scene is the all important banquet scene. It is a banquet held by Macbeth and his Lady, to welcome all of the lords under him, and essentially to try and impress them so that they will support him. Therefore it is undoubtedly very important for everything to go well. The very beginning of the scene shows Macbeth welcoming them all, and inviting them to sit down. The murderers then enter to inform him of Banquos death, and Fleances escape. Macbeth is distressed at the news of Fleances escape, but soon consoles himself that Fleance is too young to do any harm. Then, Banquos ghost appears, and sits in Macbeths seat. Lennox urges him to sit down with them, but Macbeth denies that there is space for him to sit down. A small discussion takes place in which they are all urging Macbeth to sit down, and Macbeth continues to deny there is space! He then becomes increasingly upset, and accuses the Lords of putting Banquos ghost there. Sensing that there will be trouble, Lady Macbeth intervenes and tries to calm the situation, and the confused Lords, by telling them that Macbeth is having a momentary lapse, and not to encourage him as it will upset him further; Sit, worthy friends. My lord is often thus, And hath been from his youth. Pray you, keep seat. The fit is momentary; upon a thought He will again be well. If much you note him You shall offend him and extend his passion. Feed, and regard him not. She then turns to Macbeth and uses a past used expression of, Are you a man?! He answers that he is, and much alike to her character, dismisses him just as she has done so often before when Macbeth shows weakness. Macbeth tells her to look at the ghost, as he is seeing already, and then tries to talk to the ghost! This shows how certain he is that Banquos ghost is there. The Ghost then leaves the room, and while still maintaining that he saw Banquos ghost, Macbeth broods for a short time on how the dead return. He then seems to settle himself, and apologises to his guests before proposing a toast of general good health to them all, and to Banquo. At this point, the situation seems to have been salvaged but then the Ghost re-enters and once again and Macbeth explodes into violent language, through obvious sheer fear. Lady Macbeth attempts to reassure the guests in between his outbursts. Think of this, good peers, But as a thing of custom. Tis no other, Only it spoils the pleasure of the time. But as Macbeth rants on, terrified, she realises she is losing control of the situation, and makes a last bid of control by ordering the Lords to leave. I pray you speak not; he grows worse and worse. Question enrages him. At once, good night. Stand not upon the order of your going, But go at once. The Lords leave, while Macbeth broods on murder, and the general unnaturalness. Lady Macbeth does little to stop him, which suggests that she is finally at a loss of what to do. It is evident that she has lost control of him at this point. Macbeth vows that he will go and see the witches and will go by anything they tell him from now onwards. This may seem simple to Macbeth, but must be difficult for Lady Macbeth, as this is yet another blatant turn away from her control and guidance. She tells him to go to bed, not even commenting on his choice to go to the witches instead of her. After this scene, Macbeth and Lady Macbeth do not appear in any more scenes together. Macbeth most definitely continues to take the lead in the relationship, which is a complete and utter turn around from what we were seeing at the beginning of the play. Macbeths and his Ladys relationship was based almost entirely on the fact that he depended on her completely, trusting her with everything. She in turn depended on him, as her role in their relationship purely was to guide and dominate Macbeth. This had worked perfectly fine until the point when they killed Duncan. This was a pivotal point in the play, because after Macbeth had gone through with the murder he, through his own decision and means, went and killed the guards. This was not part of Lady Macbeths structured plan, and this was his first break away from her regulation. From that point, Macbeth rapidly began to break away from Lady Macbeths domineering side, and started doing things for himself, notably when he arranged for Fleance and Banquo to be killed. As the play progresses it was evident that Macbeth was speedily becoming a much stronger, more brutal, and perhaps most significantly, self dependant. And as a direct result, Lady Macbeth faded out in her dominance and general persona. The next scene that Lady Macbeth appears in is much later in the play, which is Act 5, scene 1. She hasnt even been mentioned during this time, let alone by Macbeth. The scene begins with a waiting-gentlewoman and a doctor. The Gentlewoman is telling the Doctor that she is concerned, as Lady Macbeth has been frequently been sleepwalking. He asks her what she has been saying all the while she has been sleepwalking, and she refuses to tell him. However at that point Lady Macbeth herself enters, sleepwalking, and he finds out for himself. She is seemingly rubbing her hands, which the Doctor enquires about. Then, Lady Macbeth speaks; Yet here a spot So the two onlookers listen to her words. Out damned spot! Out, I say! One. Two. Why then tis time to dot. Hell is murky. Fie, my lord, fie, a soldier, and afeard ? What need we fear ? Who knows it, when none can call our power to account? Yet who would have thought the old man to have so much blood in him? And then; The Thane of Fife had a wife. Where is she now ? What will these neer be clean? No more othat, my lord, no morethat. You mar all this starting. The Doctor and Gentlewoman at this point comment that they know that she has spoken of what she has not. She has basically just told them that she knows and was involved in murder. And still, she continues; Heres the smell of blood still; all the perfumes of Arabia will not sweeten this little hand. O, O, O. The doctor and gentlewoman are somewhat shocked at her words and state that her heart is heavily burdened. The Doctor says that, This disease is beyond my practise, meaning that he cannot heal her saddened heart. And then Lady Macbeth speaks again; Wash your hands, out on your nightgown, look not so pale. I tell you yet again, Banquos buried; he cannot come out ons grave. And then; To bed, to bed; theres a knocking at the gate. Come, come, come, come, give me your hand; whats done cannot be undone. To bed, to bed, to bed. And then she leaves. Her last few words are the words she told Macbeth when he was so unsure of himself and was upset at what they had done. When she repeats them at this point, it is almost as if she is reassuring herself as she speaks, rather than just going over it, which is interesting. It is obvious that now that it has finally hit Lady Macbeth the extent of what has been happening. It has finally occurred to her also, how much she has lost control. And this is literally killing her. The Doctor and Gentlewoman do not want to comment on what they have heard, for fear of what has been said. The scene ends with the Doctor being bid goodnight by the gentlewoman, as he goes to find Macbeth and tell him of his diagnosis. When Macbeth, 2 scenes later, is told that Lady Macbeth is irreparably unwell, he simply dismisses medicine and even suggestively dismisses the Doctor himself, while asking for his armour. He is only now thinking of himself. That is clear. He has no feelings of care or love for his once doted upon wife and instead can only think of himself and what is going on around him in regards to the attack. In Act5, scene 5, Macbeth is told of Lady Macbeths inevitable death. If at any point much earlier in their relationship Macbeth had been given such news, he would undoubtedly have been distraught. It would have been of great loss to him. But here, not so. Instead, he selfishly twists the news into some sort of extra problem or hassle to him. He sees it as another bad thing that has happened in his life. He shows no sadness, and instead is filled with feelings of resentment that it should just be yet another downfall in his life. This shows just how bad their relationship has got. It has got to the point where Macbeth is literally only looking out for one person, and one person only- himself. He has no further need for a wife, and so feels no grief at her death, and instead reflects on lifes futility; Out, out, brief candle, Lifes but a walking shadow, a poor player, That struts and frets his hour upon the stage And then is heard no more. It is a tale Told by an idiot, full of sound and fury. Signifying nothing. As we have followed Macbeth and Lady Macbeths relationship, various changes have occurred, which in turn have all ricocheted down the line towards Lady Macbeths death, and then eventually Macbeths own death. Macbeth took first steps towards less dependence when he went and killed the guards. This was not an apparent part of Lady Macbeths plan, and this unsettled her. But still she took charge of the situation by fainting, to draw away attention from his unintended actions. Then, he took further steps by arranging Banquo and Fleance to be murdered, and then Macduffs family. Most importantly in it all, Macbeth did not tell Lady Macbeth of his actions. Instead he teased her with the notion of his plots and plans, leaving her ponder. He most probably enjoyed this mockery of his wife, as it was a large statement in their relationship, which once had been based on his dependence. He continues after all this to keep breaking away from her. He stops telling her his thoughts and plans entirely, and in accordance to this, Lady Macbeth loses her somewhat vital status, which is essentially what she thrived on, and how was the only way to keep their relationship going in the only way she knew how. So inexorably she gets to a point when she is only left to her own thoughts which she has in the past shied away from through putting all her efforts into her husband and his welfare. Off-stage, she dies, although it is never made clear how. We are left to assume that as foreseen by the doctor she died in her bed of such a burdened heart. Alternatively she may have taken her own life, or fallen on roman daggers, as it described as earlier in the play. As described earlier Macbeth takes this to his own heart as another fault in his own life, and shortly after this point is justifiably murdered himself, by Macduff, whose family Macbeth earlier killed. Earlier in the play, Lady Macbeth sums up the futility of their actions and almost a premonition of what lay ahead was summed up when she said; Noughts had, alls spent Where our desire is got without content. Tis safer to be that which we destroy Than by destruction dwell in doubtful joy.

Comparing Novel and Film Version of Snow Falling on Cedars Essay

Comparing Novel and Film  Version of Snow Falling on Cedars It is no easy task to create a work - through writing or film - that has an impact on society. In writing, one must discuss and analyze a relevant topic that will have an impact on the readers. One must also present stunning sensory images through words in order to create a complete understanding for the reader. In filmmaking it is not much different, but there must be striking visual imagery in combination with a fitting musical score in order to give the viewer of the film the full experience. There must also be historical accuracy, both in writing and film. In either case, it can take years to create such a captivating piece of work. David Guterson's novel Snow Falling on Cedars and its cinematic counterpart of the same name combine all of the aspects of good writing and filmmaking to create an emotionally provocative and historically accurate masterpiece.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  The story of Snow Falling on Cedars was set on a fictional island called San Piedro, somewhere in the Puget Sound area. The island had a thick history of generations of prejudice disguised by immigrant strawberry farmer life. The island was home to descendents of German, Swedish, English, and Japanese ancestry. When the Second World War arose, the people immediately panicked and reacted poorly to the Japanese American citizens. The story follows the lives of these Japanese Americans through their painful internment by the American government for what they termed the 'good of the union.' The story is also centered on several other subplots, including a biracial romance between a young couple, as well as the death of a white island fisherman named Carl Heine, Jr., and the trial of the Japan... ...racy and leads the reader or viewer to develop an intense emotional involvement with the story line. Both the novel and the film are remarkably vivid with the use of imagery and theme. The snow falling upon the cedars, as the prevalent image in both versions, functions as a beautiful metaphor begging for interpretation. The themes about the complexities of the human heart and the random distribution of both good and bad fortune are reinforced throughout the entirety of each work. The original work of pure genius - the novel, of course - deserves the credit for the incredible story behind Snow Falling on Cedars, but it is clear that the film followed in its antecedent's path with ease. Works Cited Guterson, David. Snow Falling on Cedars. New York: Vintage Books, 1995. Snow Falling on Cedars. Screenplay by Ron Bass and Scott Hicks, Universal Pictures, 1999.

Why I Want a Wife

Weddings are often a time of celebration, especially for my family. This past summer, as we prepared for my sister Gini’s wedding, the festivities extended to good-natured teasing of the bride- and groom-to-be. For example, WITH knowing smiles, my parents–self-proclaimed experts on marriage courtesy of their own wedding almost thirty years ago–dispensed advice about everything, including how to improve her cooking skills beyond instant rice and grilled cheese. Gini’s typical responses included â€Å"That was a long time ago,† â€Å"Things are different now; times have changed,† and â€Å"Jason can do a lot of things for himself. † It was with particular delight that my family took to rubbing in one of Jason’s smoother moves. He waited until a few short weeks before the wedding to inform Gini that his Mom had always done his ironing for him, and now he expected Gini to take over that task—after all, he couldn’t wear wrinkled clothes to his new job, could he? Poking fun at the responsibilities involved in marriage is similar to the attitude presented in Judy Brady’s 1971 essay, â€Å"Why I Want a Wife. † In â€Å"Why I Want a Wife,† Brady offers hypothetical criteria for an ideal wife in a satirical commentary on how the work of wives is often taken for granted. The humor of the essay lies in its structure: on the surface it seems to accept the criteria it puts forth, while the meaning actually operates in the recognition that the narrator is being sarcastic. Using writing as one of her tools for activism, Judy (Syfers) Brady has established herself as a supporter of the women’s movement since she began more than thirty years ago. In â€Å"Why I Want a Wife,† she narrates a setting that mocks the situations and obligations wives find themselves immersed in. The narrator draws on her own experiences to present examples of how â€Å"good† wives are expected to behave. The satirical critique emerges as the narrator thinks through her reasons for wanting a wife. The language used has a satirical edge evident in both the author’s emphasis on certain modifiers (indicated by italics) and in the surface structure of the sentences, which belies the underlying criticisms. The audience should recognize the sarcasm from the language and attitude of the narrator. Now let's consider all the elements supporting her satirical point, beginning with the author's long history with this style of writing. Judy (Syfers) Brady has established herself as a supporter of the women’s movement, and critics point to this essay as typical of her career. â€Å"Throughout the article, [Brady] lists characteristics that she would like in a wife†¦She never comes out and says that the way that women are treated in family situations is wrong. She implies it by sarcastically creating her ideal wife. This technique works because it forces readers to realize it for themselves† writes Diego Vasquez on a webpage titled â€Å"A Rhetorical Critique of ‘Why I Want a Wife. â€Å"2 Vasquez’s analysis includes the supposition that the essay first appeared in pamphlet form, and suggests that Brady was a â€Å"†¦radical feminist writing for other radical feminists. † Vasquez also notes that Brady is reported to have said, â€Å"I am married, am a housewife, and have two female children; all three of those factors keep my anger alive,† and that â€Å"[Brady] t ried to persuade other housewives to take a step back and look at how they were being exploited. † Judy Syfers Brady, who was born in 1931 and later studied at the University of Iowa, now lives in San Francisco. In 1972, â€Å"Why I Want a Wife† appeared in the first issue of â€Å"Ms. â€Å"3 Although at that time, few critics expected the magazine to last4, almost twenty years later it (re-) featured â€Å"Why I Want a Wife. â€Å"5 Another decade later, almost thirty years after the essay first appeared in Ms. , Ms. Brady is still active in women’s movements. Her more recent work can be found in â€Å"Greenpeace Magazine†6 and in the â€Å"Women’s Review of Books. â€Å"7 Through all these works and critical commentary on it, we can see her personal focus on making a strong case for the feminist cause. Much as her personal life informs her recent article in the â€Å"Women’s Review of Books,† Judy Brady appears to have drawn on her own experiences when she wrote â€Å"Why I Want a Wife. † In the essay, the author/narrator drives home the amount and type of work expected of wives both by situating herself as involved in some it and by listing qualifications. In my reading, the setting of the over-worked housewife will take the form of the narrator both being such a wife and of describing such as wife through mimicry. To indicate this setting, I will use actions to reinforce the narrator’s words. For example, at the beginning, in the clause â€Å"while I was ironing,† the narrator slips in that she thought through her argument while engaged in domestic labor. When I read that line, I will direct a look at the audience that conveys just how thrilled I am to be pressing clothes. Which is to say, my look will suggest that yet again, while I was doing one of my many thankless jobs, I was thinking about that â€Å"poor† guy. A second way I intend to suggest the setting is to give the audience a withering look while I use my right hand to pick up and put away imaginary things as I read the lines â€Å"I want a wife who will keep my house clean. A wife who will pick up after my children, a wife who will pick up after me. I want a wife who will keep my clothes clean, ironed, mended, replaced when need be, and who will see to it that my personal things are kept in their proper place so that I can find what I need the minute I need it. Later, to show the perfect wife being the perfect hostess, I will offer up imaginary hors d’oeuvres with a graceful sweep of my hand when read the clause â€Å"I want a wife who takes care of the needs of my guests so that they feel comfortable, who makes sure that they have an ashtray, that they are passed the hors d’oeuvres, that they are offered a second helping of the food, that their wine glasses are replenished when necessary, that their coffee is served t o them as they like it. The gracefulness of the movement will hopefully reinforce the wife-seekers conception of feminine social skills in addition to suggesting and mimicking an actual setting where hors d’oeuvres are being offered. Also, to follow up that line and to show that the coffee is just right, I will bring up my right hand, holding my fingers folded down, except for my thumb and index finger, which will be touching at the imaginary point of perfection. This movement will signify the (anal) expectations about a wife’s responsibilities. In all these ways the author's relationship to the setting supports the point of the essay through a performance of the character's satirical tone. As a character, the narrator has chosen to view these (anal) expectations in a humorous, satirical light. To show this mark of a sharp mind and wit, I will read every line in light mockery. This sweet little wifey has a biting way of deftly masking her meaning in false agreement. The criticisms of the narrator aren’t malicious, but they are satirical, and I hope to project that satire in my reading. I imagine the narrator as someone with self-confidence and poise, dignified even in undignified circumstances, and I plan to portray that by standing upright, neither puffed with arrogance nor slumped with despair. That is how I will stand, too, when I read the brief paragraph on replacing the hypothetical wife (â€Å"If, by chance, I find another person more suitable as a wife than the wife I already have, I want the liberty to replace my present wife with another one. Naturally, I will expect a fresh new life; my wife will take the children and be solely responsible for them so that I am left free. â€Å") For that paragraph, I will assume the tone of a martyr, as if the wife-seeker is sacrificing him(/her)self for the well-being of the universe. Also, to show the narrator as parodying the self-centered concerns of a wife-seeker, I will gesture toward myself, occasionally laying my hand below the base of my throat, throughout my reading. This movement will direct attention to the self who is self-centered and will be a trifle melodramatic, as can be expected of someone who is over-acting to make fun of another person’s selfishness. And, to further express the overall satire of the essay, I will try to keep the hint of a smirk (a dubious, critical smirk-not a self-satisfied one) on my face. This smirk should put a sarcastic edge on my reading as the character considers all the benefits of having a wife which she would like to enjoy. Thinking about and sarcastically expounding on the thankless duties expected of â€Å"good† wives is how I envision the development of this piece’s â€Å"action. † I plan to show this action of â€Å"Thinking† in several ways. One way is to pretend as though I, the narrator, think some of my ideas are super, such as â€Å"I want a wife who is a good nurturant attendant to my children, who arranges for their schooling, makes sure that they have an adequate social life with their peers, takes them to the park, the zoo, etc. â€Å"). I will try to keep a fake, bland smile on my face to suggest how nice, easy, and convenient it must be to be able to rely on someone else for such tasks. Another way I will demonstrate the narrator’s thought processes will be to act as though some of my ideas have just occurred to me, including the somewhat random â€Å"I want a wife who will type my papers for me when I have written them. † I will pause before that line and try to look thoughtful before coming to the revelation that that would be quite handy. An additional way to indicate the narrator’s thinking will be to vocally (not verbally) suggest that some of my ideas are onerous duties I have long since grown tired of doing, such as â€Å"When I meet people at school that I like and want to entertain, I want a wife who will have the house clean, will prepare a special meal, serve it to me and my friends, and not interrupt when I talk about things that interest me and my friends. † I will adopt a haughty, superior tone to deliberately imitate how I have been told, in effect, to lower myself. Showing this process of reflecting on the expectations for wives will help to foster the sense of mockery the narrator employs throughout her satirical litany. This satire and sarcasm is evident in the language used even at the beginning of the piece, and I plan to play it up. For example, when I read the second line (â€Å"I am A Wife. â€Å"), I will say â€Å"I amm†Ã¢â‚¬â€œholding the â€Å"M† slightly longer than necessary for emphasis-before I punctuating â€Å"A Wife† with a demure smile to indicate the sublime pleasure I derive from the this, the most fulfilling of feminine roles. Also on â€Å"A Wife,† I will lower my voice to further emphasize the depth and fullness of my appreciation for my position. I plan this obviously exaggerated infusion of wife-dom with positive connotations to set up the satirical attitude toward â€Å"wife† in the rest of the piece. . Some other ways I plan to use the language of the essay to drive home the narrator’s voice is to take advantage of the author’s locations of emphasis. In two places, the author has italicized â€Å"my† when she writes â€Å"my physical needs† and â€Å"my sexual needs. In those two places I will particularly stress â€Å"my† to reflect the intensity of the selfishness being described, and I will gesture toward myself. The author has also italicized the â€Å"good† in â€Å"I want a wife who cooks the meals, a wife who is a good cook. † I will vocally stress the â€Å"good† and I will make an â€Å"Mmmm† face (quick raising of my eyebrows while smiling with my lips closed) to reflect the author’s intentional emphasis. These actions should help to make the satirical intention of the speaker clear to the audience. Making the sarcasm/satire of the narrator clear to the audience will be an essential part of my performance. To introduce the sarcasm in the opening, I will look over the audience’s heads, almost at an imaginary star that represents how dreamy my life as a wife is and how happy I am at my good fortune of being married when I read the lines â€Å"I belong to that classification of people known as wives. I am A Wife. And, not altogether incidentally, I am a mother. Of course, this dreamy look will be an act on behalf of the narrator, who is making fun of anyone who actually believes that that is the sum of how she feels. In the next paragraph, I will look at the audience as I brace them for my diatribe. I will be giving them a semi-serious look, with my eyebrows raised in a quizzical way, that matches the narrator’s dry tone. From this look, the audience should infer that the narrator actually judges her friend, or people like the friend, much harsher than the words bein g used would imply. Further into the essay, there is the paragraph about sexual needs (â€Å"I want a wife who is sensitive to my sexual needs, a wife who makes love passionately and eagerly when I feel like it, a wife who makes sure that I am satisfied. And, of course, I want a wife who will not demand sexual attention when I am not in the mood for it. I want a wife who assumes the complete responsibility for birth control, because I do not want more children. I want a wife who will remain sexually faithful to me so that I do not have to clutter up my intellectual life with jealousies. And I want a wife who understands that my sexual needs may entail more than strict adherence to monogamy. I must, after all, be able to relate to people as fully as possible. â€Å") When I begin that paragraph, I will give the audience a saucy, playful look. Then, I will look eager (chin and eyebrows raised, expectant smile) when I speak of making love eagerly, and I will look stubborn (eyebrows lowered, negative shake of my head) for when I am â€Å"not in the mood. † Although I will have maintained appropriate eye-contact throughout the reading, at the end, with the final sentence (â€Å"My God, who wouldn’t want a wife? ), I will pin the audience with a piercing look, looking them straight in the eye, as if to say, â€Å"Well, duh! ,† when the narrator’s true voice finally speaks. These actions should connect the audience directly to the progression of thought and satire as the speaker leads up to and makes her strong concluding statement. Judy Brady has strong opinions about what shouldn’t be automatically presumed as a wife’s obligations. Her opinion influenced her essay â€Å"Why I Want a Wife†, wherein she introduces the reader to an overworked housewife’s reasons for wanting a wife of her own. This housewife/narrator cleverly uses language to comment on the condition of wives by verbally condoning what she actually despises. Because the audience will be able to pick up on her sarcasm, they will understand her unsaid message. Although it might be possible to construe Brady’s essay as a bitter diatribe against the injustice of the way some wives are subordinated, I prefer to read this piece as the humorous product of a sharp wit, almost like Jonathan Swift’s â€Å"A Modest Proposal. Usually, when I read over this essay, a smirk finds its way to my face-the same kind of smirk I feel starting when I think back to the proud phone call my family received after my newlywed sister Gini succeeded in making meatloaf all by herself. Maybe Gini was right in those days before her wedding when she anticipated that things would be different for her and Jason, and that the two of them would share household responsibilities. They seem to be equally experiencing the hazards o f cooking. Recently, Gini told us about a kitchen disaster that involved them both. Ace-chef that she is, Gini failed to notice that some fresh-from-the-freezer sauerkraut was burning one of her (wedding gift) pans. Jason came to the rescue, though, convinced that he could save the day with his superior knowledge that only inorganic chemicals can clean up burned organic materials. And so, he set about â€Å"desperately† trying the salvage the pan using Gini's nail polish remover. It does my heart good to know that the two of them work so well together in the kitchen. Although now I am torn about what to get them for Christmas: new cookware? Who knows, maybe I'll get them a restaurant gift certificate.

Gender Roles in The Epic of Gilgamesh - 688 Words

The Epic of Gilgamesh: Gender roles The Epic of Gilgamesh chronicles the life of the great warrior and hero Gilgamesh. Gilgamesh is not great hero because he is moral. In fact he is feared because a goddess made him, strong as a savage bull, none can withstand his arms (1). This phrase underlines the terrible power of femininity, in the view of the Mesopotamian culture that produced the text. On one hand, the female principle is responsible for creation. On the other hand, the female principle also has the ability to destroy: the epic takes a largely dim perspective of humanity, and often, by extension of women, because the source of all creation is a goddess, Aruru. Aruru creates but she also generates suffering. Gilgameshs friend Enkidu runs wild until he sleeps with a harlot, after which the wild beasts which were once his friends reject him, suggesting that femininity is also a source of male disempowerment. Although Aruru is the source of both the life of Gilgamesh and his beloved companion Enkidu, the two friends create a society between themselves that is essentially masculine. This masculine relationship is the most positive force in the epic. Gilgamesh is known for his sexual prowess amongst women, but his feelings for Enkidu run much deeper and are more profound. He is said to be drawn to Enkidu as though to a woman but no relationship Gilgamesh has with women parallels the one he has with Enkidu (2). As well as creation, love is personified as a female,Show MoreRelatedGender Roles in the Epic of Gilgamesh Essay679 Words   |  3 PagesGender Roles in the Epic of Gilgamesh In the Epic of Gilgamesh, gender plays a very significant role. While women were not the most powerful gods nor the strongest or wisest of humans, they still had tremendous influence. Though the main characters of the story, Gilgamesh and Enkidu, are male, women did not play a necessarily minor role. 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This document tells a story of an ancient King Gilgamesh, ruler of Sumer in 2,700 B.C.E. who is created gloriously by gods as one third man and two third god. In this epic, Gilgamesh begins his kingship as an audacious and immature ruler. Exhausted from complaints, the gods send a wild man named Enkidu to become civilized and assist Gilgamesh to matureRead MoreAthanasia: Human Impermanence and the Journey for Eternal Life in the Epic of Gilgamesh1740 Words   |  7 PagesAthanasia: Human Impermanence and the Journey for Eternal Life in the Epic of Gilgamesh â€Å"Will you too die as Enkidu did? Will grief become your food? Will we both fear the lonely hills, so vacant? I now race from place to place, dissatisfied with whereever I am and turn my step toward Utnapishtim, godchild of Ubaratutu† (Jackson â€Å"Gilgamesh Tablet IX† 4-9) Gilgamesh so much feared death that he threw away his honor as a warrior in order to obtain immortality. For centuries there have existed individuals