Characters
- Created by: Will.I.am J Bentley
- Created on: 24-02-18 18:31
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- Characters
- Narrator Protagonist
- The new bride, 'The Bloody Chamber'
- Recalls loss of innocence
- Flashbacks of individual memories on the train
- Character of sensations
- 'Impeccable linen of the pillow'
- But when she is left alone as mistress, she is oppressed
- She copes with the content of the chamber through the 'therapeutic task' of playing a piano
- Remains an odd combination of fearlessness and resignation: 'I knew I must meet my lord alone'
- Remains dependent on her mother, her 'avenging angel', for her salvation
- But when she is left alone as mistress, she is oppressed
- Marquis' kiss 'with tongue and teeth in it'
- But when she is left alone as mistress, she is oppressed
- She copes with the content of the chamber through the 'therapeutic task' of playing a piano
- Remains an odd combination of fearlessness and resignation: 'I knew I must meet my lord alone'
- Remains dependent on her mother, her 'avenging angel', for her salvation
- But when she is left alone as mistress, she is oppressed
- Nightdress - 'supple as a garment of heavy water'
- 'Impeccable linen of the pillow'
- Recalls loss of innocence
- The girl, 'The Tiger's Bride'
- Survivor personality but powerless in many respects
- Respects her inability to escape her father's neglect - 'debauchery', 'special madness'
- Her response to 'Desnuda' is a reflection of her harsh life
- But her attitude changes when the Beast changes his proposals
- Anthropomorphic change - rejects the values of her father's civilization
- Confirms the possibility of a 'peaceable kingdom' by becoming the tiger's bride and rejoicing in the revelation of her 'beautiful fur'
- Survivor personality but powerless in many respects
- The new bride, 'The Bloody Chamber'
- Predatory Patriarch and Absent Farther
- The Marquis, 'The Bloody Chamber'
- Manifestation of extreme cruelty
- Aristocratic birth may suggest extreme power and therefore extreme cruelty
- Rejects his wives as soon as there is evidence of mature independent sexuality
- One could argue he is the patriarch as child abuser, the deepest and darkest betrayal of the farther's role
- The girl links the 'warm fug of Havana' with 'little girl' memories of her farther 'before he kissed me and left me'
- One could argue he is the patriarch as child abuser, the deepest and darkest betrayal of the farther's role
- Represents self indulgence - Marquis de Sade
- Dangerous and menacing predator
- Carter compares him to a lily and almost immediately describes that flower as 'cobra-headed'
- His 'footfall turned the carpet into snow'
- Manifestation of extreme cruelty
- The Count, 'The Snow Child'
- Manifestation of extreme cruelty
- Aristocratic birth may suggest extreme power and therefore extreme cruelty
- Repellent figure
- 'he was finished' - shows the short-lived nature of his virility and undermines the power that his sexuality might have
- Manifestation of extreme cruelty
- The father, 'The Tiger's Bride'
- Absent father, same as the father in 'The Courtship of Mr Lyon'
- Common villain in folklore and myth
- Puts riches before his real 'treasure', his daughter
- Common villain in folklore and myth
- Absent father, same as the father in 'The Courtship of Mr Lyon'
- The Duke, 'Wolf-Alice'
- He is unaware of himself as the monster. He realises this when he nursed back to health by Wolf-Alice
- Show how identities can be transformed through care and compromise
- He is unaware of himself as the monster. He realises this when he nursed back to health by Wolf-Alice
- The Marquis, 'The Bloody Chamber'
- Innocent Male
- Piano-tuner, 'The Bloody Chamber'
- He is blind
- Helpless and non-threatening
- Listens
- Supportive and gentle
- Cannot see the mark on his lover's forehead
- Forgiving character
- Helpless and non-threatening
- He is blind
- The Soldier, 'The Lady of the House of Love'
- Unintentionally destroys the woman's world
- 'lack of imagination'
- 'Blond beauty' but he is dull
- Unintentionally destroys the woman's world
- Piano-tuner, 'The Bloody Chamber'
- Matriarch
- The mother, 'The Bloody Chamber'
- Traits of masculine hero
- Rescues her daughter
- 'gladly, scandalously, defiantly beggared herself for love'
- Prepared to abandon her femininity
- 'magnificently eccentric'
- Prepared to abandon her femininity
- 'maternal telepathy'
- Traits of masculine hero
- The Countess, 'The Snow-Child'
- Symbol of jealousy
- Furs and riding boots - sexual appeal and power - are transferred to her husband's sexual fantasy
- 'With her long hand, she stroked her furs' - regains her power at the end
- Furs and riding boots - sexual appeal and power - are transferred to her husband's sexual fantasy
- Symbol of jealousy
- Wolf-Alice, 'Wolf-Alice'
- The werewolf, 'The Werewolf'
- The mother, 'The Bloody Chamber'
- Victim
- The bride, 'The Bloody Chamber'
- She is passive but she is also strong
- The Independent Woman
- The girl, 'The Tiger's Bride'
- The child, 'The Werewolf'
- Far less passive than the original Red Riding Hood
- The child, 'The Company of Wolves'
- Far less passive than the original Red Riding Hood
- The Independent Woman
- Passive
- Enables Carter to explore the attractions of dominance in human relationships
- She looks at the extent to which the young wife might be seen as a willing victim -'innocent but not naive'
- Enables Carter to explore the attractions of dominance in human relationships
- She is passive but she is also strong
- The child, 'The Snow Child'
- She is the 'child of his desire' - vanishes almost as soon as she is called into existence
- Vulnerable to the symbolic touch of love, and she falls victim to 'the thorn' which preresents the painful aspects of human emotion
- She is the 'child of his desire' - vanishes almost as soon as she is called into existence
- The Countess, 'The Lady of the House of Love'
- Imprisoned by permanent youthful beauty
- Her release from this empty 'imitation of life' and her 'balked tenderness'
- Experiences the 'pain' of being human
- Carter explores how seeming opposites can be transformed into one another, and here shows how hunter and hunted are interchangable roles
- The imaginary terrors of Gothic horror are dwarfed in comparison with the real and unimaginable horrors of the trenches in France
- Imprisoned by permanent youthful beauty
- The bride, 'The Bloody Chamber'
- Human Animal
- The Beast, 'The Tiger's Bride'
- 'La Bestia'
- Crter has created her definition of teh male, and of female desire for the male
- The Beast
- Different kind of aristocrat
- 'impeccable', 'potent' and 'chaste; 'dreadful'
- Warning to careless fathers
- Cries jewelled teardrops when he wrongs the girl with his clumsy and embarrassing demands
- He had a 'sculptured calm' in his male disguise, which hides the 'annihilating vehemence'
- He understands 'his appetite need not be my extinction'
- Warning to careless fathers
- 'impeccable', 'potent' and 'chaste; 'dreadful'
- Different kind of aristocrat
- 'La Bestia'
- Wolf-Alice, 'Wolf-Alice'
- On seeing the wounded duke, Wolf-Alice 'leapt upon his bed to lick, without hesitation, without disgust...the blood and dirt from his cheeks and forehead
- Wolfe-Alice takes on a maternal, caring role to save the duke
- Empathy for the duke suggests her humanity
- The lines between human and beast are blurred in the positive resolution of the tale
- On seeing the wounded duke, Wolf-Alice 'leapt upon his bed to lick, without hesitation, without disgust...the blood and dirt from his cheeks and forehead
- Granny, 'The Company of Wolves'
- 'she knew the worst wolves are hairy on the inside'
- The girl is aware of the nature of men
- Grotesque image suggesting all men have an inner 'wolf'
- Transformation is used to present man's dual nature
- 'she knew the worst wolves are hairy on the inside'
- The Beast, 'The Tiger's Bride'
- The Independent Woman
- The girl, 'The Tiger's Bride'
- The child, 'The Werewolf'
- The child, 'The Company of Wolves'
- Narrator Protagonist
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