Portia is Brutus' devoted wife. She doesn't get a whole lot of stage time but we think she's an interesting figure, especially when it comes to the play's concern with gender dynamics.
When Brutus refuses to confide in Portia, she takes issue with his secrecy: as a married couple, she says, they should have no secrets.
Dear my lord,
Make me acquainted with your cause of grief.
[...]
Within the bond of marriage, tell me, Brutus,
Is it excepted I should know no secrets
That appertain to you? Am I your self
But, as it were, in sort or limitation,
To keep with you at meals, comfort your bed,
And talk to you sometimes? Dwell I but in the
suburbs
Of your good pleasure? If it be no more,
Portia is Brutus' harlot, not his wife.(2.1.275-276; 302-310)
In other words, Portia is sick and tired of being excluded from her husband's world just because she's a woman. She also suggests that, when Brutus keeps things from her, he's treating her like a "harlot [prostitute], not his wife."
Portia's desire to be close to her husband seems reasonable enough. But Portia also has the annoying habit of talking about women (including herself) as though they're weaker than men.
I grant I am a woman; but withal
A woman well-reputed, Cato's daughter.
Think you I am no stronger than my sex,
Being so fathered and so husbanded?
Tell me your counsels; I will not disclose 'em.
I have made strong proof of my constancy,
Giving myself a voluntary wound
Here, in the thigh. Can I bear that with patience.
And not my husband's secrets? (2.1.317-325)
Here Portia says she knows she's just a girl, but since she's the daughter and wife of two really awesome men, that makes her better than the average woman. To prove her point, she stabs herself in the thigh without flinching and demands that her husband treat her with more respect. Yikes! Later she kills herself by swallowing "fire," or hot coals (4.3). This is interesting because it's usually men who are prone to violence in the play.
History Snack: When Portia says she knows she's just "a woman" but she also thinks she's "stronger" and more constant (i.e., steady and masculine) than most, she sounds a lot like Queen Elizabeth I (Shakespeare's monarch) who famously said "I know I have the body but of a weak and feeble woman; but I have the heart and stomach of a king" ("Speech to the Troops at Tilbury", 1588). Queen Elizabeth I, like Portia, buys into the idea that women are weaker than men but also presents herself as the exception to the rule.
hopefully this helps
Answer:
Property
Explanation:
I'm actually learning about this in my class too.
Answer:
Two reasons I support this claim are because high school students are already stressed and tired anough as it is, by the time they come home they just want to relax and not have to worry about anything like chores. My second reason is because students have so many activities and extracuricular sports and such that they have to study for or participate in, when they don't get their chores done their parents will usually get mad at them which adds on to the stress that they are already feeling.
I am currently speaking from experience and from conversations I have had with other highschoolers. Two possible counterclaims could be that students need to learn how to do household chores when they're young so they will be prepared for when they move out on their own and because some chores are easy small and simple things to do and it wouldn't hurt to pick up a few pieces of trash or to take the trash out. I would say that the first counterclaim while in some cases could be true is also wrong, because most chores you don't have to learn how to do. You don't have to practice taking the trash out or doing the dishes. And while it wouldn't hurt to pick up a piece of trash or do the dishes, a lot of parents have unrealistic expectations when it comes to chores. I would state my counter-counterclaims and provide more backup research/evidence as to why I am correct.
Answer:
OKAYY SO I'VE DECIDED TO PICK JACK FOR YOU... I put them on bullet points so you write it out yourself later on
- Golding achieves characterization by using direct and indirect techniques to establish the personalities of Ralph, Jack, Piggy, Simon, Roger, Sam, and Eric (Samneric). As a result, we come to understand them as symbolic icons of good, evil, reason, loyalty, and justice. <u>( I bolded the important details on this paragraph)</u>
- Jack, Ralph's nemesis, is tall and thin. He is fair-skinned and freckled with piercing light blue eyes that easily convey anger.
- Golding uses multiple methods to characterize Jack in Lord of the Flies, including direct and indirect characterization, dialogue, and the response of others. Direct characterization shows Jack's eyes were "ready to turn, to anger." Indirect characterization shows that Jack hunts and enjoys the k!ll. Characterizing Jack through dialogue includes his telling Piggy, “Shût up, Fàtty.” Golding also shows how Ralph responds to Jacks's commanding presence.
More About Jack:
- Jack is the classic example of a dictator. He's determined to rule the island single-handed, and woe betides anyone brave or foolish enough to get in his way. Like all dictators, he uses a mixture of fear and violence to cement his power.
- The strong-willed, egomaniacal Jack is the novel’s primary representative of the instinct of savagery, violence, and the desire for power—in short, the antithesis of Ralph. From the beginning of the novel, Jack desires power above all other things. He is furious when he loses the election to Ralph and continually pushes the boundaries of his subordinate role in the group. Early on, Jack retains the sense of moral propriety and behavior that society instilled in him—in fact, in school, he was the leader of the choirboys. The first time he encounters a pig, he is unable to k!ll it. But Jack soon becomes obsessed with hunting and devotes himself to the task, painting his face like a barbarian and giving himself over to bloodlust. The more savage Jack becomes, the more he is able to control the rest of the group. Indeed, apart from Ralph, Simon, and Piggy, the group largely follows Jack in casting off moral restraint and embracing violence and savagery. Jack’s love of authority and violence are intimately connected, as both enable him to feel powerful and exalted. By the end of the novel, Jack has learned to use the boys’ fear of the beast to control their behavior—a reminder of how religion and superstition can be manipulated as instruments of power.
(I left pictures for information on the book and character)
