因此,欧里庇得斯和莱斯•使用现实的技术来描绘人物,描绘极端的情感和强大的感觉。安托瓦内特和美狄亚是动态的主角,改变整个叙事。里斯的小说情节上映的活力与有着不可分割的联系。安托瓦内特的丈夫反对她的身份时,他拒绝了她的女性和唤起她的童年创伤,剥夺了父母的爱和爱她的丈夫,安托瓦内特变得疯狂。她想要报复,但这只发生在她报仇。整个叙述安托瓦内特生活在一个梦幻的国家,,最后,所有现实和梦想之间的界限是消除。实际上,里斯介绍安托瓦内特的梦想传达主人公的生活和男性的恐惧。例如,第二梦安托瓦内特穿过森林,害怕某人或某事;马登(1995)承认,这个梦想”揭示了安托瓦内特对婚姻的恐惧将会是:她会卡住,违反,掠夺,和剥削殖民地占有”(p.165)。报不像安托瓦内特,美狄亚的侮辱,对自己和他人造成伤害。螺旋器(1998)指出,“只有权力美狄亚知道维克多的力量,她学会了自己的“可怜的激情”是他们使她成为失败者”(p.54)。但美狄亚的罪行是在这样一种方式,这个角色唤起同情而不是指责,美狄亚的痛苦和恐惧透露她戏剧性的独白和交互与其他字符,而她的罪行只是提到了遥远的声音。在她的一个独白美狄亚声称:“啊,我呻吟在下一步行动,我必须做什么”(欧里庇得斯,2000年第2000行)。因此,美狄亚剧作家体现了所有女性的性格特点:温柔和残忍,骄傲和善良,嫉妒和激情,真诚和狡猾,美狄亚比安托瓦内特更强大和更危险的。但所有美狄亚的特征是自然的;申请意象,欧里庇得斯吸引了女性和自然之间的平行。例如,角色的愤怒是乌云相比,野性激情的像一个母老虎和冷漠让一块石头。里斯也使用自然强调安托瓦内特的性格,自然是给安托瓦内特安静和归属感。当主人公出现在Coulibri的花园,她承认,“就好像一扇门开了,我在别的地方,别的东西。不再自己.
新西兰管理学论文代写：新西兰统计学论文代写
Hence, both Euripides and Rhys use realistic techniques to portray their characters, depicting extreme emotions and powerful feelings. Antoinette and Medea are dynamic protagonists that change throughout the narration. In Rhys’ fiction this dynamism is inseparably connected with the plot dramatisation. When Antoinette’s husband rejects her identity, he rejects her womanhood and evokes her childhood wounds; deprived of parental love and love of her husband, Antoinette becomes insane. She wishes to revenge herself, but this avenge occurs only in her mind. Throughout the narration Antoinette lives in a dreamlike state, and, finally, all boundaries between reality and dreams are eliminated. Actually, Rhys introduces Antoinette’s dreams to convey the protagonist’s fears of life and males. For instance, in the second dream Antoinette runs through the forest, being afraid of someone or something; as Madden (1995) acknowledges, this dream “reveals Antoinette’s fears of what marriage will be: she will be entrapped, violated, despoiled, and exploited like a colonised possession” (p.165). Unlike Antoinette, Medea revenges for an insult, causing harm to herself and others. As Corti (1998) points out, “the only power Medea knows is the power of the victor; all she has learned of her own ‘poor passions’ is that they have made her a loser” (p.54). But Medea’s crimes are presented in such a way that the character evokes sympathy rather than blame; Medea’s pain and fear are revealed in her dramatic monologues and her interactions with other characters, while her crimes are only mentioned by distant voices. In one of her monologues Medea claims: “Ah me, I groan at what a deed I must do next” (Euripides, 2000 line 790). Thus, in the character of Medea the dramatist embodies all female characteristics: tenderness and cruelty, pride and kindness, jealousy and passion, sincerity and slyness; Medea is stronger and more treacherous than Antoinette. But all Medea’s traits are natural; applying to imagery, Euripides draws a parallel between a woman and nature. For instance, the character’s anger is compared to storm clouds, untamed passion resembles a tigress and coldness reminds a stone. Rhys also uses nature to accentuate Antoinette’s character; it is nature that gives quietness and sense of belonging to Antoinette. When the protagonist appears in Coulibri’s garden, she acknowledges that “it was as if a door opened and I was somewhere else, something else. Not myself any longer
