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Tony Kytes, the arch deceiver by Thomas Hardy and Tickets Please by D.H Lawrence

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Tony Kytes, the arch deceiver by Thomas Hardy and Tickets Please by D.H Lawrence Both John Thomas and Tony Kytes are daring characters that try manipulating the women around them. Yet in the end both are weaker than the women in each story. Compare the two male characters and discuss whether or not you agree with this statement. Think about: * The similarities between the two men, and their attitude towards women. * The differences between the two men, the ways in which they control their relationships with women and who is in command. * How each man reacts to the incidents at the end of the stories. ...read more.


The two men are very similar in their attitudes towards women and also how they treat women. Tony Kytes was 'The women's favourite' as it said in the story and so was John Thomas who was a ladies man and it said that he knew how to treat women properly. The differences between the two men are that John Thomas likes to be discreet and unseen. Tony Kytes does everything openly. When Tony got into trouble, he blew a fuse and panicked. Tony asked his father for advice. John Thomas wasn't given this opportunity and did not have time to react because he was physically beaten unlike Tony. ...read more.


In 'Tickets, Please' firstly John Thomas is in control until he meets a certain girl called Annie. John thinks he can pull her off too but Annie is clever and keeps him at 'arms length'. Annie leads a rebellion against John with the other girls and John Thomas ends up being beaten up. Overall in the whole story, the women are stronger than the men except for Annie and Milly. Annie raised her hopes too high. She wanted a marriage. John wanted her for 'Temporary use'. Annie ended up heartbroken. Milly was due to get married to Tony. After every girl refused to marry him, she should have refused him as well because he didn't deserve her. Tony wanted Hannah. He said it himself. Milly ended up as a happily married woman. ...read more.

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