In the story, “The Chrysanthemums,” by John Steinbeck, there are several contextual symbols which serve to enhance the overall theme of the story: life’s struggles in rural America. These struggles are often hidden from others, as seen from the experiences and feelings of the character Elisa Allen. Therefore, these symbols represent the aspirations and the frustrations of Elisa; and they help to convey the opinions of the author regarding farm life.
Initially, the reader is introduced to Elisa Allen while she is tending her garden of chrysanthemums. She is hard at work, and clearly she has a natural talent for growing these flowers. The work she puts into these flowers demonstrates the value of the flowers to Elisa. Then, her husbands comes over to her and comments on the flowers. The story reads: “‘At it again…you’ve got a gift with things,’ Henry observed. ‘Some of those yellow chrysanthemums you had these years were ten inches across. I’d wish you’d work out in the orchard and raise some apples that big.’” Evidently, Henry does not care too much for Elisa’s growing of flowers. He believes that Elisa’s work could be better put to use in other areas of the farm; after all, farm life requires a substantial amount of work. However, he does not realize why Elisa grows the flowers; and he cannot be blamed for this lack of understanding because Elisa does not show clear signs of her motives. In reality, Elisa considers the chrysanthemums as representative of her aspirations in life. She desires to be a strong, beautiful woman. Nevertheless, Elisa feels tied down by her farm life and by her husband. Although she does not blame her husband for her hidden misery, she knows that being with him is part of the problem. Therefore, Elisa continues to grow her flowers in spite of her husband and the work that has to be done around the farm. She prefers to let her other work pile up, causing her to have to work more later, but she will never give up growing the flowers. Elisa knows that, if she stops growing the flowers, she will effectively give up on those elements the flowers represent for her, her aspirations and her dreams.
Moreover, the chrysanthemums symbolize Elisa herself. When her husband leaves and the man in the wagon arrives, Elisa is very cold and apprehensive toward the man. She insists several times that she does not have anything for the man to fix. However, her attitude completely changes when the man mentions the chrysanthemums. He notes that they are very rare and that he would like to take some flowers, if possible. The story says: “‘Why yes you can,’ Elisa cried... Her eyes shone. She tore off the battered hat and shook out her dark pretty hair. ‘I’ll put them [the flowers] in a flower pot, and you can take them right with you. Come into the yard.’” This change in attitude demonstrates how important the flowers are to Elisa. In her view, the man’s acknowledgement of the flowers symbolize that, for once, someone has finally noticed her, her beauty, and her hard work. Moreover, the man wants to take some of the flowers, symbolizing that the man deems Elisa’s essence worthy of being taken to other places. Such a gesture delights Elisa and drives her to invite the man into the farm and to look for pots that he can fix. Indeed, the flowers hold a very important place within Elisa because they represent Elisa herself, with all of her dreams, aspirations, and frustrations.
Additionally, there are other contextual symbols which serve to support the symbolic power of the chrysanthemums; the clothes worn by the characters are one such symbol. When the story begins, both Henry and Elisa are dressed in farm clothes. These clothes are worn out because they are used for hard labor in the farm. They symbolize the burden Elisa feels. As already mentioned, she takes off her farming hat to reveal her beautiful hair, as if the hat were hiding her true self. When Henry and Elisa are going to the city, they bathe and put on their best attire. On their way, Elisa sees the wagon on the road. She does not look at the man. However, she knows that the man holds her true essence in the form of the flowers she had given him. When talking to her husband, she is saddened by the fact that it is a complete stranger who knows who really is, instead, of her husband. The story ends saying: “‘It will be enough if we have wine. It will be plenty.’ She turned up her coat collar so he could not see that she was crying.’” Indeed, the ending of the story reveals the true frustrations of Elisa with her life and asserts the author’s idea of farm life being one filled with frustration, misery, and sense of worthlessness.
In conclusion, this story contains some very powerful contextual symbols. Reflective of the title, the most important symbol are the chrysanthemums, representative of Elisa’s true persona. Complementing the chrysanthemums are the clothes of the characters, symbolic of the burdening effect farm life has on Elisa. In agreement with the author’s opinions of farm life, these symbols function to convey the hardships experienced by individuals on farms.
Tuesday, February 17, 2009
THE CONFLICT IN “YOUNG GOODMAN BROWN”
In the story, “Young Goodman Brown,” by Nathaniel Hawthorne, the character of Goodman Brown is faced with a tearing conflict. Living in Puritan society, he is on his way to participate in a satanic ritual. From the decision he makes and the actions he performs, Goodman Brown reveals the true essence of his character, asserting himself as a loyal subject of Puritan beliefs.
From the beginning of the story, Goodman Brown is very apprehensive about attending the ritual. However, he continues to walk toward the ritual site. Brown is driven by the words of the man with the staff. By the end of the story, it is clear that this man is the devil himself. A clear sign of the man’s identity comes when Brown notes the appearance of the man’s staff as resembling a serpent, a staff which the man offers to Brown several times, clearly as a means of temptation. The story reads: “‘Come, Goodman Brown!’ cried his fellow-traveler, ‘this is a dull pace for the beginning of a journey. Take my staff, if you are so soon weary.’” It is almost as if the evil within the staff will facilitate Brown with the strength to attend the ritual by counteracting the goodness within him. From Biblical records, the serpent is the embodiment of evil and the main tool used by the devil to tempt the first humans. Brown is being tempted by the devil to attend the ritual. Therefore, an element of the conflict is the man vs. man conflict between Brown and the devil. Brown knows that what he is about to do is wrong, but the devil maintains that the ceremony is not as evil as Brown thinks. Indeed, the main element of the conflict of the story is the one provoked by the man, or the devil, who is urging Brown to attend the ritual.
Additionally, the conflict also contains another element of man vs. man and man vs. society; Goodman Brown is torn because he knows that by attending the ritual, he will betray both his wife and his society. In the beginning of the story, Brown is heartbroken about leaving his wife and about lying to her regarding his destination. Brown is afraid that, if he is discovered, his wife will leave him. This fear is especially symbolic since the name of Brown’s wife is “Faith.” Symbolically, Brown is abandoning his “faith” to attend a satanic ritual. Brown is also worried about the shame he is bringing to his family by engaging in the ritual. However, the devil tells him: “I [the devil] have been as well acquainted with your family… they [Brown’s grandfather and father] were my good friends, both; and many a pleasant walk have we had along this path.” Moreover, Brown is betraying his society, a society that is known for its strict doctrines regarding “witchcraft.” Therefore, Brown is also conscious of the effects his actions will have on others, a sentiment which tears Brown and contributes to the conflict facing him.
Nevertheless, the bulk of the worry which Brown has becomes a man vs. himself conflict which nearly overwhelms Brown. After all, it is inside Brown’s mind where the conflict is taking place. Brown knows that he is better than what he is about to do. Even Brown’s name of reference, Goodman, is symbolic of the nature of Brown. In essence, he is a good man. Brown knows of his inherent goodness, but it is not until he is in the midst of committing the sin that Brown acts upon his goodness and decides to not have any part in the ritual. Truly, the most difficult element of the conflict is within Brown and it is up to him to decide which path he will take.
In conclusion, the conflict in this story has several facets. It takes on the form of man vs. man or man vs. society when Brown is tempted by the devil and when he thinks about his family and his wife or when he thinks about his society, respectively. Although the story carries a twist when Brown discovers that other citizens and his own wife are also partaking in the ritual, this discovery, instead of encouraging Brown to participate, serves as the deciding factor which drives Brown to decide not to participate in the ritual. In the end, Brown resolves his conflict by deciding not to take part in the ritual, an act symbolic of Brown’s resistance to temptation and the revelation of his existent goodness.
From the beginning of the story, Goodman Brown is very apprehensive about attending the ritual. However, he continues to walk toward the ritual site. Brown is driven by the words of the man with the staff. By the end of the story, it is clear that this man is the devil himself. A clear sign of the man’s identity comes when Brown notes the appearance of the man’s staff as resembling a serpent, a staff which the man offers to Brown several times, clearly as a means of temptation. The story reads: “‘Come, Goodman Brown!’ cried his fellow-traveler, ‘this is a dull pace for the beginning of a journey. Take my staff, if you are so soon weary.’” It is almost as if the evil within the staff will facilitate Brown with the strength to attend the ritual by counteracting the goodness within him. From Biblical records, the serpent is the embodiment of evil and the main tool used by the devil to tempt the first humans. Brown is being tempted by the devil to attend the ritual. Therefore, an element of the conflict is the man vs. man conflict between Brown and the devil. Brown knows that what he is about to do is wrong, but the devil maintains that the ceremony is not as evil as Brown thinks. Indeed, the main element of the conflict of the story is the one provoked by the man, or the devil, who is urging Brown to attend the ritual.
Additionally, the conflict also contains another element of man vs. man and man vs. society; Goodman Brown is torn because he knows that by attending the ritual, he will betray both his wife and his society. In the beginning of the story, Brown is heartbroken about leaving his wife and about lying to her regarding his destination. Brown is afraid that, if he is discovered, his wife will leave him. This fear is especially symbolic since the name of Brown’s wife is “Faith.” Symbolically, Brown is abandoning his “faith” to attend a satanic ritual. Brown is also worried about the shame he is bringing to his family by engaging in the ritual. However, the devil tells him: “I [the devil] have been as well acquainted with your family… they [Brown’s grandfather and father] were my good friends, both; and many a pleasant walk have we had along this path.” Moreover, Brown is betraying his society, a society that is known for its strict doctrines regarding “witchcraft.” Therefore, Brown is also conscious of the effects his actions will have on others, a sentiment which tears Brown and contributes to the conflict facing him.
Nevertheless, the bulk of the worry which Brown has becomes a man vs. himself conflict which nearly overwhelms Brown. After all, it is inside Brown’s mind where the conflict is taking place. Brown knows that he is better than what he is about to do. Even Brown’s name of reference, Goodman, is symbolic of the nature of Brown. In essence, he is a good man. Brown knows of his inherent goodness, but it is not until he is in the midst of committing the sin that Brown acts upon his goodness and decides to not have any part in the ritual. Truly, the most difficult element of the conflict is within Brown and it is up to him to decide which path he will take.
In conclusion, the conflict in this story has several facets. It takes on the form of man vs. man or man vs. society when Brown is tempted by the devil and when he thinks about his family and his wife or when he thinks about his society, respectively. Although the story carries a twist when Brown discovers that other citizens and his own wife are also partaking in the ritual, this discovery, instead of encouraging Brown to participate, serves as the deciding factor which drives Brown to decide not to participate in the ritual. In the end, Brown resolves his conflict by deciding not to take part in the ritual, an act symbolic of Brown’s resistance to temptation and the revelation of his existent goodness.
THE USE OF RITE OF PASSAGE IN “THE FOUND BOAT”
In the story, “The Found Boat,” by Alice Munro, Eva, one of the main characters, experiences a rite of passage by the end of the story. This rite of passage can be more easily identified as growing up, which is, in essence, what Eva experiences. However, such process occurs during a prolonged period of time and it culminates with the children’s epiphany at the end of their journey to the station.
In the beginning of the story, the girls almost completely ignore the boys as they make their way to the lake. However, the girls seem to secretly enjoy the boys, especially how the boys treat them. When the girls spot the boat, they tell the boys, guessing that the boys will dismiss their claim and make fun of them. But the story reads differently: “What surprised them [the girls] in the first place was that the boys really did come.” As time passes and the children spend most of their time together repairing the boat, the bonds between them grow stronger. Essentially, the girls create a connection with the boys by discovering the boat. The boat becomes a uniting factor between the children for they all feel as if each owns a little piece of the boat. If it had not been for the boat and the connection it creates between the children, the environment necessary for Eva to undergo her rite of passage would never have occurred because she would not have had sufficient contact with Clayton, who at this point Eva clearly likes. The biggest clue to Eva’s attraction to Clayton comes when Eva enters the kitchen and engages Clayton’s mother. The story says: “…Eva, who had been brought up to talk politely to parents, even wash-and-iron ladies, and who for some reason especially wanted to make a good impression on Clayton’s mother.” Indeed, Eva comes to realize she likes Clayton, the first step in her rite of passage.
Eventually, the day all of the children are waiting for comes, the day to use the boat. The children go down river and get to the station. Once there, they begin to play Truth or Dare. Then, Frank dares all to take off all their clothes. This dare is a curious dare because its execution requires a sense of maturity. Everyone sits quietly until, not surprisingly enough, Eva accepts the dare for everyone by asking “what first.” By taking the initiative to perform the dare, Eva demonstrates that she has changed. Whereas Carol is very apprehensive, Eva is relaxed and determined to do what she feels is natural. As the children run about naked on the river bank, they portray their newfound freedom. They have cast off their clothes, a symbol of repression, and have begun to live life as they want to, not as their parents do, at least for a small period of time. The story says: “They [the children] felt as if they were going to jump off a cliff and fly. They felt that something was happening to them different from anything that had happened before, and it had to do with the boat, the water, the sunlight, the dark ruined station, and each other.” In that amount of time, they experience firsthand what it means to be free, all thanks to Eva.
Nevertheless, not all rites of passage lead to pleasant experiences, and this story is no exception. For Eva, her rite of passage comes with an unpleasant, perhaps even heartbreaking, experience. While in the lake, Eva and Clayton meet face to face. The story says: “Eva did not turn or try to hide; she was quivering from the cold of the water, but also with pride, shame, boldness, and exhilaration.” For Eva, this is the moment she has been waiting for, a moment to engage Clayton and to see what he will do. However, Clayton is still caught up in his boyhood and spits water at Eva, an action expected from a child. For Eva, Clayton’s gesture is both humiliating and shattering, but it is also the catalyst of Eva’s rite of passage. As the boys leave, Carroll approaches Eva and asks her what Clayton had done. Eva answers “nothing.” From this response, it is evident Eva has undergone a rite of passage. She now has the maturity to accept reality and to cope with what has happened. She also understands that Clayton is still a child and that she cannot expect much more from him. Therefore, Eva considers Clayton’s action nothing, a judgment which reflects Eva’s new reasoning.
In conclusion, the use of rite of passage in this story is ingenious. By having one character experience a rite of passage while others do not, the author reflects the realities and the complexities of life. Nevertheless, the author simplifies the basic idea of rite of passage by having it occur to a young adult. Although Eva is disillusioned by Clayton, she can celebrate her newfound outlook on life and her new understanding of the world and its functions. For now, Eva will just have to wait for Clayton. Indeed, Eva knows that just as she has had her rite of passage, so too will Clayton.
In the beginning of the story, the girls almost completely ignore the boys as they make their way to the lake. However, the girls seem to secretly enjoy the boys, especially how the boys treat them. When the girls spot the boat, they tell the boys, guessing that the boys will dismiss their claim and make fun of them. But the story reads differently: “What surprised them [the girls] in the first place was that the boys really did come.” As time passes and the children spend most of their time together repairing the boat, the bonds between them grow stronger. Essentially, the girls create a connection with the boys by discovering the boat. The boat becomes a uniting factor between the children for they all feel as if each owns a little piece of the boat. If it had not been for the boat and the connection it creates between the children, the environment necessary for Eva to undergo her rite of passage would never have occurred because she would not have had sufficient contact with Clayton, who at this point Eva clearly likes. The biggest clue to Eva’s attraction to Clayton comes when Eva enters the kitchen and engages Clayton’s mother. The story says: “…Eva, who had been brought up to talk politely to parents, even wash-and-iron ladies, and who for some reason especially wanted to make a good impression on Clayton’s mother.” Indeed, Eva comes to realize she likes Clayton, the first step in her rite of passage.
Eventually, the day all of the children are waiting for comes, the day to use the boat. The children go down river and get to the station. Once there, they begin to play Truth or Dare. Then, Frank dares all to take off all their clothes. This dare is a curious dare because its execution requires a sense of maturity. Everyone sits quietly until, not surprisingly enough, Eva accepts the dare for everyone by asking “what first.” By taking the initiative to perform the dare, Eva demonstrates that she has changed. Whereas Carol is very apprehensive, Eva is relaxed and determined to do what she feels is natural. As the children run about naked on the river bank, they portray their newfound freedom. They have cast off their clothes, a symbol of repression, and have begun to live life as they want to, not as their parents do, at least for a small period of time. The story says: “They [the children] felt as if they were going to jump off a cliff and fly. They felt that something was happening to them different from anything that had happened before, and it had to do with the boat, the water, the sunlight, the dark ruined station, and each other.” In that amount of time, they experience firsthand what it means to be free, all thanks to Eva.
Nevertheless, not all rites of passage lead to pleasant experiences, and this story is no exception. For Eva, her rite of passage comes with an unpleasant, perhaps even heartbreaking, experience. While in the lake, Eva and Clayton meet face to face. The story says: “Eva did not turn or try to hide; she was quivering from the cold of the water, but also with pride, shame, boldness, and exhilaration.” For Eva, this is the moment she has been waiting for, a moment to engage Clayton and to see what he will do. However, Clayton is still caught up in his boyhood and spits water at Eva, an action expected from a child. For Eva, Clayton’s gesture is both humiliating and shattering, but it is also the catalyst of Eva’s rite of passage. As the boys leave, Carroll approaches Eva and asks her what Clayton had done. Eva answers “nothing.” From this response, it is evident Eva has undergone a rite of passage. She now has the maturity to accept reality and to cope with what has happened. She also understands that Clayton is still a child and that she cannot expect much more from him. Therefore, Eva considers Clayton’s action nothing, a judgment which reflects Eva’s new reasoning.
In conclusion, the use of rite of passage in this story is ingenious. By having one character experience a rite of passage while others do not, the author reflects the realities and the complexities of life. Nevertheless, the author simplifies the basic idea of rite of passage by having it occur to a young adult. Although Eva is disillusioned by Clayton, she can celebrate her newfound outlook on life and her new understanding of the world and its functions. For now, Eva will just have to wait for Clayton. Indeed, Eva knows that just as she has had her rite of passage, so too will Clayton.
THE NATURE OF THE CONFLICT IN “SOLDIER’S HOME”
In the story, “Soldier’s Home,” by Ernest Hemingway, Harold, the protagonist, is faced with a conflict which is both self-inflicted and brought upon by circumstances of life. The nature of the conflict is simple: Harold’s inability to adjust to post-war life. Although the protagonist attempts to deal with this conflict, it is evident that he is not trying very hard. In the end, the protagonist is forced to cope with reality and to face the conflict, a conflict that proves beneficial to the protagonist.
Initially, the returning veteran Harold is introduced to the reader in a pitiful mood. The story reads: “By the time Krebs [Harold] returned to his home town in Oklahoma the greeting of heroes was over.” Evidently, Harold is frustrated because he had not gotten to partake in the admiration enjoyed by the soldiers that had returned as soon as the war was over. Because of the outcome of the war, many Americans came to view the war with disgust and did not mind to talk about it anymore. Moreover, the United States was entering a new era, the Roaring Twenties, which would come to be characterized by the abandonment of foreign ideas and involvements and the attention paid to everything American. All of these behaviors came just years after President Woodrow Wilson had pronounced that “the world must be made safe for democracy,” and the American troops had been proclaimed “liberators.” Therefore, Harold feels let down, perhaps even betrayed, by the country that sent him to what could have been his death. Harold comes to believe that he is still owed for the sacrifice he has made, but he does not know neither who or what owes him nor what he is owed, an uncertainty which helps trigger the conflict.
Consequently, Harold begins to remember his days in Europe and hopes that he could still be there, a clear sign that Harold does not want to accept reality. Europe, Harold believes, had offered him everything he wanted. However, this view is not correct. What Harold really misses is the pampering and the good life he had enjoyed in the army. A soldier, because of the tremendous sacrifice that is asked of him, is treated very well, especially when he or she is on the winning side. Harold received food, clothing, and shelter from the army. Also, Harold enjoyed the status given to him as a soldier. People respected him and girls were very interested in him. When Harold is back home, he admires the girls of his town. Yet, he does not try to engage any of them because he says it takes too much work. In reality, Harold has just become accustomed to having everything without much effort, including women. Harold’s feelings are perfectly described when the story says: “That was the thing about French girls and German girls. There was not all this talking. You couldn’t talk much and you did not need to talk. He thought about France and then he began to think about Germany…He did not want to leave Germany. He did not want to come home. Still, he had come home.” By attempting to live a fantasy, Harold is demonstrating just how out of touch with reality he really is.
Nevertheless, the major element of the nature of the conflict in this story is not related to the war or to Harold’s service; instead, it is the stage that Harold is going through in his life that is making living so hard for him. In essence, Harold is becoming adjusted to being a man, a transition which occurred abruptly during the war. This transition would have been a lot smoother if Harold had stayed home. However, he goes to war as a teenager with no responsibilities and comes back home considered a man. Poor Harold is left without any guidance, and he is expected to engage in the responsibilities of adulthood. Such difficult and abrupt transition conducts Harold into a state of detachment from any responsibilities. It is not until his mother confronts him that Harold is obligated to come back to reality and to face the fact that he is an adult now and that he has to take care of himself. His mother tells him: “…you have lost your ambition, that you haven’t got a definite aim in life.” Eventually, Harold accepts responsibility, though not willingly, and embarks on a new phase of his life.
In conclusion, the nature of the conflict in this story stems from Harold himself and from the situation he has experienced. Harold’s sense of betrayal by his country and people and his disregard to responsibility can be somewhat attributed to the fact that Harold is a returning veteran. Feeling out of place, he’s shell-shocked and enters an almost trance-like state. However, it is the stage through which Harold is going through which has the greatest impact on the conflict in this story. Although the conflict is resolved in the end of the story, the elements that caused it to develop are not.
Initially, the returning veteran Harold is introduced to the reader in a pitiful mood. The story reads: “By the time Krebs [Harold] returned to his home town in Oklahoma the greeting of heroes was over.” Evidently, Harold is frustrated because he had not gotten to partake in the admiration enjoyed by the soldiers that had returned as soon as the war was over. Because of the outcome of the war, many Americans came to view the war with disgust and did not mind to talk about it anymore. Moreover, the United States was entering a new era, the Roaring Twenties, which would come to be characterized by the abandonment of foreign ideas and involvements and the attention paid to everything American. All of these behaviors came just years after President Woodrow Wilson had pronounced that “the world must be made safe for democracy,” and the American troops had been proclaimed “liberators.” Therefore, Harold feels let down, perhaps even betrayed, by the country that sent him to what could have been his death. Harold comes to believe that he is still owed for the sacrifice he has made, but he does not know neither who or what owes him nor what he is owed, an uncertainty which helps trigger the conflict.
Consequently, Harold begins to remember his days in Europe and hopes that he could still be there, a clear sign that Harold does not want to accept reality. Europe, Harold believes, had offered him everything he wanted. However, this view is not correct. What Harold really misses is the pampering and the good life he had enjoyed in the army. A soldier, because of the tremendous sacrifice that is asked of him, is treated very well, especially when he or she is on the winning side. Harold received food, clothing, and shelter from the army. Also, Harold enjoyed the status given to him as a soldier. People respected him and girls were very interested in him. When Harold is back home, he admires the girls of his town. Yet, he does not try to engage any of them because he says it takes too much work. In reality, Harold has just become accustomed to having everything without much effort, including women. Harold’s feelings are perfectly described when the story says: “That was the thing about French girls and German girls. There was not all this talking. You couldn’t talk much and you did not need to talk. He thought about France and then he began to think about Germany…He did not want to leave Germany. He did not want to come home. Still, he had come home.” By attempting to live a fantasy, Harold is demonstrating just how out of touch with reality he really is.
Nevertheless, the major element of the nature of the conflict in this story is not related to the war or to Harold’s service; instead, it is the stage that Harold is going through in his life that is making living so hard for him. In essence, Harold is becoming adjusted to being a man, a transition which occurred abruptly during the war. This transition would have been a lot smoother if Harold had stayed home. However, he goes to war as a teenager with no responsibilities and comes back home considered a man. Poor Harold is left without any guidance, and he is expected to engage in the responsibilities of adulthood. Such difficult and abrupt transition conducts Harold into a state of detachment from any responsibilities. It is not until his mother confronts him that Harold is obligated to come back to reality and to face the fact that he is an adult now and that he has to take care of himself. His mother tells him: “…you have lost your ambition, that you haven’t got a definite aim in life.” Eventually, Harold accepts responsibility, though not willingly, and embarks on a new phase of his life.
In conclusion, the nature of the conflict in this story stems from Harold himself and from the situation he has experienced. Harold’s sense of betrayal by his country and people and his disregard to responsibility can be somewhat attributed to the fact that Harold is a returning veteran. Feeling out of place, he’s shell-shocked and enters an almost trance-like state. However, it is the stage through which Harold is going through which has the greatest impact on the conflict in this story. Although the conflict is resolved in the end of the story, the elements that caused it to develop are not.
THE CONFLICT IN “MISS BRILL”
In the story, “Miss Brill,” by Katherine Mansfield, the narrator is a peculiar and a strange character. She lives a simple life, yet she believes she is in a complex world and that she plays a role in that world. Nevertheless, this illusion exists only in the mind of the narrator. Therefore, it is the narrator’s detachment with reality that creates the conflict in this story.
Initially, the narrator introduces the reader to the elegant environment around her. The park is described as being just right, the perfect place to enjoy a Sunday afternoon. She comments on her fur coat, which she is glad she brought. The story reads: “Miss Brill was glad that she had decided on her fur…She had taken it out of its box that afternoon, shaken out the moth-powder, given it a good brush, and rubbed the life back into its dim little eyes.” The comment about the eyes is very important, especially because she views the fur as being a living being. She looks at the fur’s eyes and talks to it. The fur has come to represent the main or, perhaps, the only contact Miss Brill has with another living being. The fur acts as a companion on Miss Brill’s journey to the park every Sunday. Moreover, the fur helps to maintain Miss Brill’s detachment with reality because of the role it plays both in the life of Miss Brill.
Additionally, Miss Brill makes a statement regarding the park and what happens in it that further helps to understand her lack of touch with reality. Miss Brill comes to assert that all that is happening in the park is like a play. The story says: “It was like a play. It was exactly like a play. They [everyone in the park, including Miss Brill] were all on the stage. They weren’t only the audience, not only looking on; they were acting.” From this quote, it is clear that Miss Brill’s life has become a reoccurring sequence of events, much like a play. Although several events occur during a play, the play is still confined to its plot. Eventually the play ends, and the only way to experience it again is by repeating it. Moreover, Miss Brill is an actress in her play, the main character of her life, but not of the world. She does not give herself a dominant role; instead, she only mentions that her role is only on Sundays. However, she hopes that the fact that she is part of the play, and therefore an actress, will help her upgrade her status among others. The narrator mentions how an old invalid gentleman to whom she reads the newspaper four afternoons a week would recognize her as an actress of the play and would offer her his praise. Indeed, Miss Brill herself has accurately identified what her life resembles: a repeating play; the irony is that she connects such play to the entire world.
Notwithstanding, Miss Brill’s play contains a tragic ending. As she is happily sitting on the bench and watching the people in the park, she overhears a young man saying: “Why does she [Miss Brill] come here at all. Who wants her? Why doesn’t she keep her silly old mug at home?” The words of the young man shatter Miss Brill’s character. After that incident, Miss Brill does the unthinkable. She breaks the routine that she has been doing for long time. This single action puts into perspective the impact that comment had on her. The play which Miss Brill has just envisioned has completely changed. In a way, Miss Brill has left one play for another, more depressing play. Moreover, the comment made by the man directly solves the conflict of the story. For the first time, Miss Brill realizes that she is alone and that no one wants to be with her.
In conclusion, the conflict of this story is Miss Brill’s lack of touch with reality. Miss Brill, as she herself says, is part of a play. What she does not realize is that the play she refers to is her life and that she is the only person in that play. When the man makes the comment, Miss Brill is brought back to reality. She finally realizes that her play is a one-person performance. In the end, Miss Brill resolves her conflict, but, at the same time, she is forced to face the true nature of her reality: loneliness.
Initially, the narrator introduces the reader to the elegant environment around her. The park is described as being just right, the perfect place to enjoy a Sunday afternoon. She comments on her fur coat, which she is glad she brought. The story reads: “Miss Brill was glad that she had decided on her fur…She had taken it out of its box that afternoon, shaken out the moth-powder, given it a good brush, and rubbed the life back into its dim little eyes.” The comment about the eyes is very important, especially because she views the fur as being a living being. She looks at the fur’s eyes and talks to it. The fur has come to represent the main or, perhaps, the only contact Miss Brill has with another living being. The fur acts as a companion on Miss Brill’s journey to the park every Sunday. Moreover, the fur helps to maintain Miss Brill’s detachment with reality because of the role it plays both in the life of Miss Brill.
Additionally, Miss Brill makes a statement regarding the park and what happens in it that further helps to understand her lack of touch with reality. Miss Brill comes to assert that all that is happening in the park is like a play. The story says: “It was like a play. It was exactly like a play. They [everyone in the park, including Miss Brill] were all on the stage. They weren’t only the audience, not only looking on; they were acting.” From this quote, it is clear that Miss Brill’s life has become a reoccurring sequence of events, much like a play. Although several events occur during a play, the play is still confined to its plot. Eventually the play ends, and the only way to experience it again is by repeating it. Moreover, Miss Brill is an actress in her play, the main character of her life, but not of the world. She does not give herself a dominant role; instead, she only mentions that her role is only on Sundays. However, she hopes that the fact that she is part of the play, and therefore an actress, will help her upgrade her status among others. The narrator mentions how an old invalid gentleman to whom she reads the newspaper four afternoons a week would recognize her as an actress of the play and would offer her his praise. Indeed, Miss Brill herself has accurately identified what her life resembles: a repeating play; the irony is that she connects such play to the entire world.
Notwithstanding, Miss Brill’s play contains a tragic ending. As she is happily sitting on the bench and watching the people in the park, she overhears a young man saying: “Why does she [Miss Brill] come here at all. Who wants her? Why doesn’t she keep her silly old mug at home?” The words of the young man shatter Miss Brill’s character. After that incident, Miss Brill does the unthinkable. She breaks the routine that she has been doing for long time. This single action puts into perspective the impact that comment had on her. The play which Miss Brill has just envisioned has completely changed. In a way, Miss Brill has left one play for another, more depressing play. Moreover, the comment made by the man directly solves the conflict of the story. For the first time, Miss Brill realizes that she is alone and that no one wants to be with her.
In conclusion, the conflict of this story is Miss Brill’s lack of touch with reality. Miss Brill, as she herself says, is part of a play. What she does not realize is that the play she refers to is her life and that she is the only person in that play. When the man makes the comment, Miss Brill is brought back to reality. She finally realizes that her play is a one-person performance. In the end, Miss Brill resolves her conflict, but, at the same time, she is forced to face the true nature of her reality: loneliness.
POINT OF VIEW IN “THE LOTTERY”
In the story, “The Lottery,” by Shirley Jackson, the only point of view used by the author is the dramatic or objective point of view. In this point of view, the narrator is an unidentified speaker who reports things in great detail, even though the narrator does not play a role in the story. By using such point of view, Jackson builds an aura of uncertainty that endures until the dramatic ending of the story.
From the beginning of the story, the knowledge about the lottery is revealed only by the characters themselves. The characters do not mention the details of the lottery; most of them just express their dislike for it, especially because they have to stop what they are doing to participate in the lottery. As the story progresses, not much changes regarding the knowledge about the lottery. People are waiting for their turn to draw from the black box. The state of uncertainty created by the lack of knowledge about the lottery is truly the main driver of the action. It is almost irritating not to know where the story is going. Yet, one wants to keep reading to eventually figure out what the lottery really is. Because there is a certainty that the end will bring the answers to all of the questions formulated throughout the story, one is inclined to submerge oneself deeper into the story and to try to figure out what will eventually happen.
Therefore, it is predictable that an important ending will occur, which will bring with it an event that will clear up the entire story. Jackson accomplishes both objectives by giving the reader with a twist that not everyone would have expected. What at first seems to be a boring and simple tradition quickly transforms into an act of savagery. When the crowd stones Mrs. Hutchinson, it is almost as if all of the possible ideas about the lottery that one has imagined up to that point are violently struck down. Moreover, the end of this story is dramatic because it goes against the common belief of the peace and order experienced in a small village. In an environment ideal for creating a stable society, the reader gets a completely different picture, one of mob brutality and lack of lawfulness, a picture that is sure to inspire new opinions from the reader.
Nevertheless, at the same time that the dramatic ending destroys any assertions about the lottery and its participants, the ending also serves to promote conclusions that reflect the new views of the reader regarding both the lottery and the people in it. By only presenting actions and words, the dramatic point of view in the story sets the perfect scenario for the reader to make his or her own conclusions. Although the narrator never says anything that will influence such conclusions, it is evident that these conclusions will reflect specific ideas. For example, when responding to the fact that other villages do not perform the lottery anymore, Old Man Warner bluntly states: “Pack of crazy fools. Listening to the young folks, nothing’s good enough for them. Next thing you know, they’ll be wanting to go back to living in caves, nobody work any more, live that way for a while.” From this quote, two conclusions can be made: that there is a clear struggle of opinions between the old and the young of the village, and that some villagers have a different interpretation of what it means to be civilized. However, the main conclusion that one can come up with is that the people of this village do not act normal, at least on the day of the lottery, when compared to the prevalent Western beliefs of civilized behavior.
In conclusion, the point of view in this story is what makes it a captivating and almost obsessing tale. By not knowing all of the implications of this lottery, the reader is left without any tangible facts from which to predict what will happen next. It is only until the truly dramatic ending of the story that one realizes what kind of environment one has been dealing with the entire time. But the effects of the dramatic point of view do not end with the ending of the story; after finishing the story, one unconsciously finds oneself formulating conclusions about the story, with the hope that such conclusions will help put the story into a clearer perspective.
From the beginning of the story, the knowledge about the lottery is revealed only by the characters themselves. The characters do not mention the details of the lottery; most of them just express their dislike for it, especially because they have to stop what they are doing to participate in the lottery. As the story progresses, not much changes regarding the knowledge about the lottery. People are waiting for their turn to draw from the black box. The state of uncertainty created by the lack of knowledge about the lottery is truly the main driver of the action. It is almost irritating not to know where the story is going. Yet, one wants to keep reading to eventually figure out what the lottery really is. Because there is a certainty that the end will bring the answers to all of the questions formulated throughout the story, one is inclined to submerge oneself deeper into the story and to try to figure out what will eventually happen.
Therefore, it is predictable that an important ending will occur, which will bring with it an event that will clear up the entire story. Jackson accomplishes both objectives by giving the reader with a twist that not everyone would have expected. What at first seems to be a boring and simple tradition quickly transforms into an act of savagery. When the crowd stones Mrs. Hutchinson, it is almost as if all of the possible ideas about the lottery that one has imagined up to that point are violently struck down. Moreover, the end of this story is dramatic because it goes against the common belief of the peace and order experienced in a small village. In an environment ideal for creating a stable society, the reader gets a completely different picture, one of mob brutality and lack of lawfulness, a picture that is sure to inspire new opinions from the reader.
Nevertheless, at the same time that the dramatic ending destroys any assertions about the lottery and its participants, the ending also serves to promote conclusions that reflect the new views of the reader regarding both the lottery and the people in it. By only presenting actions and words, the dramatic point of view in the story sets the perfect scenario for the reader to make his or her own conclusions. Although the narrator never says anything that will influence such conclusions, it is evident that these conclusions will reflect specific ideas. For example, when responding to the fact that other villages do not perform the lottery anymore, Old Man Warner bluntly states: “Pack of crazy fools. Listening to the young folks, nothing’s good enough for them. Next thing you know, they’ll be wanting to go back to living in caves, nobody work any more, live that way for a while.” From this quote, two conclusions can be made: that there is a clear struggle of opinions between the old and the young of the village, and that some villagers have a different interpretation of what it means to be civilized. However, the main conclusion that one can come up with is that the people of this village do not act normal, at least on the day of the lottery, when compared to the prevalent Western beliefs of civilized behavior.
In conclusion, the point of view in this story is what makes it a captivating and almost obsessing tale. By not knowing all of the implications of this lottery, the reader is left without any tangible facts from which to predict what will happen next. It is only until the truly dramatic ending of the story that one realizes what kind of environment one has been dealing with the entire time. But the effects of the dramatic point of view do not end with the ending of the story; after finishing the story, one unconsciously finds oneself formulating conclusions about the story, with the hope that such conclusions will help put the story into a clearer perspective.
NATURE OF THE SWEDE’S PROBLEM IN “THE BLUE HOTEL”
In the story “The Blue Hotel,” by Stephen Crane, there is a great mystery that surrounds the character of the Swede. The way in which the Swede talks and acts is very peculiar. Although the other characters in the story try to interpret the Swede’s behavior, it is evident that their attempts are meaningless. The Swede’s problem is far more complex than anyone imagines, and it can be accredited to several skewed ideas the Swede holds.
Initially, the care and the apprehension with which the Swede carries himself is apparent. It is as if he were afraid of the environment he is in. He can only guess what will happen next. This peculiar way of expecting the worst is easily explained. The Swede happens to hold an outdated idea of the West. Since he is a foreigner, he has probably heard the stories of the so-called “Wild West.” He believes that the West is a haven for lawlessness, chaos, and vice. Therefore, he is always in constant watch for something to happen suddenly, such as a fight or a shootout. Because the Swede is always on the lookout for danger, his behavior merits the suspicion of the characters around him.
Consequently, the Swede wants to portray an image of being tough. At the same time that he is cautious, he wants to participate in everything and be a center of attention. A perfect example of his boasting is when he says to Johnnie “I suppose there have been a good many men killed in this room.” Clearly, the Swede is out of touch with reality and is making a futile attempt at appearing tough. His words backfire, for Johnnie reacts violently to the statement and the Swede begins to fear for his life, shouting “these men are going to kill me.” In the end, the true fearful nature of the Swede is revealed to all of the characters. Notwithstanding, the humiliated Swede is determined to look for other ways to show his true toughness.
As a result of his embarrassing display of fear, the Swede decides to engage in a conflict that will let him show everyone what kind of man he really is. The perfect opportunity comes when the Swede catches Johnnie cheating during their card game. Immediately, the Swede jumps up and confronts Johnny, who acts offended by the allegations. The quarrel between the two men ultimately leads to a physical fight between the two, outside of the hotel and in the coldness of the night. After the gruesome struggle, the Swede emerges victorious. He immediately goes back into the hotel, gathers his things, and leaves the hotel. Such quick departure implies that the Swede’s job has been done. He has come the hotel, gotten into a fight with the toughest man, has beaten that man, and has therefore proven that he indeed is tougher than anyone there. Although that is not what the men in the hotel think, the Swede is convinced the men think he is tough. With this newfound “manliness,” the Swede feels invincible. When he confronts the men at the bar for not drinking with him, the Swede has no fear, because he believes that he is now the toughest man in the town. It is that bloated sense of toughness that leads the Swede to his death. If there is any remainder of the West the Swede envisioned, it exists in the form of the gambler the Swede is so unfortunate to disturb. The gambler does not put up with the Swede and ruthlessly kills him. Indeed, the toughness that would supposedly make the Swede intimidating and untouchable is the same toughness that ends up getting him killed.
In conclusion, there are many reasons for the Swede’s peculiar behavior. First, he has a wrong perception of the environment he is in. Also, he tries to act like someone with characteristics he really does not possess. Finally, his petty victory in the quarrel with Johnnie gives him a sense of toughness that eventually kills him, literally. Because he is not aware of the reality around him, the Swede ultimately ends up facing an unfortunate destiny that is sure to have happened to him eventually.
Initially, the care and the apprehension with which the Swede carries himself is apparent. It is as if he were afraid of the environment he is in. He can only guess what will happen next. This peculiar way of expecting the worst is easily explained. The Swede happens to hold an outdated idea of the West. Since he is a foreigner, he has probably heard the stories of the so-called “Wild West.” He believes that the West is a haven for lawlessness, chaos, and vice. Therefore, he is always in constant watch for something to happen suddenly, such as a fight or a shootout. Because the Swede is always on the lookout for danger, his behavior merits the suspicion of the characters around him.
Consequently, the Swede wants to portray an image of being tough. At the same time that he is cautious, he wants to participate in everything and be a center of attention. A perfect example of his boasting is when he says to Johnnie “I suppose there have been a good many men killed in this room.” Clearly, the Swede is out of touch with reality and is making a futile attempt at appearing tough. His words backfire, for Johnnie reacts violently to the statement and the Swede begins to fear for his life, shouting “these men are going to kill me.” In the end, the true fearful nature of the Swede is revealed to all of the characters. Notwithstanding, the humiliated Swede is determined to look for other ways to show his true toughness.
As a result of his embarrassing display of fear, the Swede decides to engage in a conflict that will let him show everyone what kind of man he really is. The perfect opportunity comes when the Swede catches Johnnie cheating during their card game. Immediately, the Swede jumps up and confronts Johnny, who acts offended by the allegations. The quarrel between the two men ultimately leads to a physical fight between the two, outside of the hotel and in the coldness of the night. After the gruesome struggle, the Swede emerges victorious. He immediately goes back into the hotel, gathers his things, and leaves the hotel. Such quick departure implies that the Swede’s job has been done. He has come the hotel, gotten into a fight with the toughest man, has beaten that man, and has therefore proven that he indeed is tougher than anyone there. Although that is not what the men in the hotel think, the Swede is convinced the men think he is tough. With this newfound “manliness,” the Swede feels invincible. When he confronts the men at the bar for not drinking with him, the Swede has no fear, because he believes that he is now the toughest man in the town. It is that bloated sense of toughness that leads the Swede to his death. If there is any remainder of the West the Swede envisioned, it exists in the form of the gambler the Swede is so unfortunate to disturb. The gambler does not put up with the Swede and ruthlessly kills him. Indeed, the toughness that would supposedly make the Swede intimidating and untouchable is the same toughness that ends up getting him killed.
In conclusion, there are many reasons for the Swede’s peculiar behavior. First, he has a wrong perception of the environment he is in. Also, he tries to act like someone with characteristics he really does not possess. Finally, his petty victory in the quarrel with Johnnie gives him a sense of toughness that eventually kills him, literally. Because he is not aware of the reality around him, the Swede ultimately ends up facing an unfortunate destiny that is sure to have happened to him eventually.
Subscribe to:
Posts (Atom)