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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


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