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theme of death in literature
feminism literary theory
theme of death in literature
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Death is inevitable and inexperienced, but it is always present as an escape from the unwanted tone of one’s life that has their goals unaccomplished, desires unachieved and situations unsatisfied. Using death as a resolution for the protagonist’s problems, the authors, Gustave Flaubert and Laura Esquivel, represent the suffering and sickness of female characters, in their works, Madame Bovary and Like Water For Chocolate, respectively, leading to their tragic ending, death. Bringing up the theme of feminism, the writers simultaneously highlight the trend of romanticism in the particular era, which forced the characters to rebel against the restrictions formed by the society and social reforms.
Since the beginning of the novel, it is seen that Emma Bovary often used the strategy of “escape” to excuse herself from the daily routine of life she possessed and which she perceives as confinement. And, as we read through ‘like water for chocolate’, it is noticed that Tita wanted to escape her controlled life which practically could only happen if mama Elena would realize the importance of marriage and its values, which was not possible seeing the nature of mama Elena. Tita never explicitly wished that Mama Elena die, but her death was the only way out to her world of happiness, romance and freedom. Hence, the readers see the importance of death in tita’s life leading her to freedom. .
Flaubert shows repeated images of Emma trying to free herself from the ordinaries of life by reading novels, day dreaming when she was younger, and moving from one town to another and fantasizing as she got older. On the other side, Esqivel shows the controlled and restricted life of tita since her childhood by Mama Elena, until ...
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... led to the freedom of the characters. Flaubert brings to the readers his modern ideas about the problems faced by the women in that era. The characters are shown to be so frustrated, saturated and tired of their routine, that they find death way more lighter and easier than what they have. But, the writers very skillfully leave the readers to decide the flaw and doings of the characters. They do not practically end the novel by the death of the male and female protagonist, but, in fact, open an idea that tries to create in the mind of the readers that what Emma and Tita did was right or wrong. They are not judgmental about any character throughout the novel and have kept equal balance on both, the negative and positive, aspects of the characters. He has welcomed different thoughts and perspectives in the end of the novel to create an effect or bring about a change.
This idea is systematically integrated into Faulks’ writing from the outset, initially through Bérard’s singing when, “he fixed his eyes on Madame Azaire, who was opposite… She blushed and squirmed under his unblinking stare”. Faulks purposefully transforms this minor event into a symbolic metaphorical battle, using Bérard’s overpowering demeanour as a physical manifestation of Isabelle’s oppression. Faulks places the two characters “opposite” each other, creating two distinct sides of conflict whilst also implying an equality which is utterly disregarded, showing her lack of freedom. The combative tone is enhanced through the assonance of “unblinking” eyes that are “fixed” on Isabelle, creating an almost bestial quality to Bérard that is reminiscent of a creature circling its prey. The erotic connotations of Bérard’s physical and mental bullying create a grotesque image of Isabelle’s violation, reinforcing her oppression. Similarly, Bérard’s singing is, perversely, a serenade for Isabelle, subverting a romantic gesture into a verbal assault, which illuminates Azaire’s later physical beating of his wife in their bedroom, the setting of both Azaire’s impotence and Isabelle’s sensual power. Faulks’ violent, hyperbolical lexical focus shows how even a minor loss of freedom can cause untold suffering. He distills this suffering into a moment of physical and mental degradation when Isabelle is violated by Azaire, exemplifying the pattern of escalating suffering that Faulks applies throughout the
Write-up: Tita is the main character of the story, also the narrator, who suffers from unjust oppression from Mama Elena, her mother. She is raised to excel in the kitchen and many entertaining arts where she is expected to spend her whole life taking care of her mother. This is following the family tradition that the youngest daughter takes care of the mother until she dies. With her frivolous wants, Mama Elena denies her marriage and happiness to any man especially Pedro. She eventually breaks down and meets John Brown, the family doctor, who recovers her until she finds happiness again after Mama Elena's death with Pedro. Overall, Tita goes through a very dynamic change in the story which obviously entitles her to be a main character.
The story leads the reader on an exploratory journey to witness the neglect by Emily's extremely guilty mother. This is described by the children's cry when they are left with strangers, lacking attention and love due to the fact she is a single parent at a time where this was not commonly accepted in the community, causing a lot of emotional distress.
...lthough she did have much offered to her. At the end of her story she ultimately commits suicide because of debt costs, which were birthed by that romantic style desire for a fantasy escape. In the end, Flaubert responds to the problem of pain as something we all have to deal with, and it is best to accept what is given and appreciate where one might be in life.
No matter how hard society tries to achieve the perfect life, it does not always go as planned. It doesn’t matter if the characters are bored and depressed, confused and guilty, or virtuous and lucky; the gradual path of version A is not always in reach. Atwood states near the end of the short story, “You’ll have to face it, the endings are the same however you slice it. Don’t be deluded by any other endings, they’re all fake, either deliberately fake, which malicious intent to deceive, or just motivated by excessive optimism if not by downright sentimentality. The only authentic ending is the one provided here: John and Mary die. John and Mary die. John and Mary die” (690). The idea of this short story is not the fact that every one dies, but with the eventful memories that can make the life worthwhile. The author says, “So much for endings. Beginnings are always more fun. True connoisseurs, however, are known to favor the stretch in between, since it’s the hardest to do anything with. That’s about all that can be said for plots, which anyway are just one thing after another, a what and a what and a what. Now try How and Why” (690). This short story forces the readers to question the meaning of life. Every story has the same ending, because very life has the same ending. Life is exciting because of the experiences that can lead each individual onto their own path in life. The how and the why are the inspirations, the feelings, and the interpretations that the reader goes through as they make their own way through version A. Be adventurous and make memories because the story isn’t in the ending; it’s in what’s done on the way
I am going to analyze this text using the intrinsic and feminist literary theory analysis. With the intrinsic analysis, I will brood mostly on the style and characterization of the text. According to Eaglestone, 2009, intrinsic analysis is a look into the text for meaning and understanding, assuming it has no connection, whatsoever, to the outside world. “Style is said to be the way one writes as opposed to what one writes about and is that voice that your readers hear when they read your work” (Wiehardt, n.d). The text uses mostly colors, poems and songs to deliver its messages. The main characters in the...
Realistic works of fiction are similar to paintings, while we will get to the end result of the painting or novel, the artist or writer is still our guide; the author is then left to “paint” the picture or in this case, write a work of fiction, capturing the picture in their own peculiar, chronological order. While the novel is still created, it is up to Flaubert to decipher which parts he writes first. The story “A Simple Heart” is still the realistic mimic of the life of Félicité, but Flaubert is in complete control of what we will know and when we will know information about her. This means, Flaubert may be holding onto information and changing our ability to perceive the world as it truly may
One topic explored is death, “The women in your family have never lost touch with one another. Death is a path we take to meet on the other side.” (194) Death may be one of, if not the worst tragedies in life, but here the narrator creates a perspective that beautifies the awful tragedy of death. The after life becomes a reunion for those who have passed. It almost conveys dying as a happening to look forward to, to be able to connect with the other women who to have passed away. This uplifting point of view adds hope for even those facing
Gustave Flaubert incorporates and composes a realistic piece of literature using realistic literary techniques in his short story, “A Simple Heart.” Flaubert accomplishes this through telling a story that mimics the real life of Félicité, and writing fiction that deliberately cuts across different class hierarchies; through this method, Flaubert is able to give the reader a clear understanding of the whole society. Flaubert makes the unvarnished truth about simple hearts clear by exposing a clear replica of a realistic story, therefore, allowing the reader to clearly understand the society and the different classes of characters. The story, “A Simple Heart” focuses on the life of a naive, simple-minded underclass maid, Félicité, and her encounters with those around her.
The characters Charles and Emma of Gustave Flaubert’s novel, Madame Bovary, escape from the drudgery and monotony of their life through fantasy. For Emma, it is a direct manipulation of her world, while for Charles it is disillusionment with the world. Each of these characters lives in complete ignorance of the true personality of the other. Emma ignores Charles's simple love and devotion while Charles is oblivious of Emma's affairs.
Myra, who is dying of illness, escapes the confinement of her stuffy, dark apartment. She refuses to succumb to death in an insubordinate manner. By leaving the apartment and embracing open space, Myra rejects the societal pressure to be a kept woman. Myra did not want to die “like this, alone with [her] mortal enemy” (Cather, 85). Myra wanted to recapture the independence she sacrificed when eloping with Oswald. In leaving the apartment, Myra simultaneously conveys her disapproval for the meager lifestyle that her husband provides for her and the impetus that a woman needs a man to provide for her at all. Myra chose to die alone in an open space – away from the confinement of the hotel walls that served as reminders of her poverty and the marriage that stripped her of wealth and status. She wished to be “cremated and her ashes buried ‘in some lonely unfrequented place in the mountains, or in the sea” (Cather, 83). She wished to be alone once she died, she wanted freedom from quarantining walls and the institution of marriage that had deprived her of affluence and happiness. Myra died “wrapped in her blankets, leaning against the cedar trunk, facing the sea…the ebony crucifix in her hands” (Cather, 82). She died on her own terms, unconstrained by a male, and unbounded by space that symbolized her socioeconomic standing. The setting she died in was the complete opposite of the space she had lived in with Oswald: It was free space amid open air. She reverted back to the religious views of her youth, symbolizing her desire to recant her ‘sin’ of leaving her uncle for Oswald, and thus abandoning her wealth. “In religion , desire was fulfillment, it was the seeking itself that rewarded”( Cather, 77), it was not the “object of the quest that brought satisfaction” (Cather, 77). Therefore, Myra ends back where she began; she dies holding onto
The literary comparison shall explore the following pieces: Plath’s “Lady Lazarus,” Woolf’s “A Haunted House,” and Atwood’s “Siren Song,” and “Happy Ending.” The first comparison is between Lady Lazarus and Siren Song, both poems contain themes of manipulation and the role of women in a patriarchal society. Furthermore, Plath’s “Lady Lazarus” contains two major ideas to be studied: role of women and manipulation. The role of women can be seen as the speaker struggles in her life as revealed by her suicide attempts. The quotes, “I have done it again / one year in every ten” and “I am only thirty / And like the cat I have nine times to die” reveal that she has tried it, it is now a tradition for her to attempt and cause her own death (Plath 1-2,
With this book, regarding plot, again, we don’t have the classical beginning, action, ending - we have a book that has a plot that rotates around the narrator’s love of Flaubert. It is as well a novel that has a very innovative type of plot, a novel that is part literary criticism, part bibliography and part fiction. In the given quote, the character talks about his wife that passed away. He tries to describe her in a very unusual way. Thoughts are inconsistent, and they give the impression that the narrator has a hard time describing her. The flow is constantly interrupted, and none of the description seem to finalize, but they actually end up finalizing as a whole. All the small elements, like her inability to be neat, the fact that she was “sick of being loved”, that they were happy and in the same time unhappy, all end up in creating a vivid image of Ellen, even if one that is a little
Madame Bovary, a novel by Gustave Flaubert, describes life in the provinces. While depicting the provincial manners, customs, codes and norms, the novel puts great emphasis on its protagonist, Emma Bovary who is a representative of a provincial woman. Concerning the fundamental typicality in Emma Bovary’s story, Flaubert points out: “My poor Bovary is no doubt suffering and weeping at this very moment in twenty French villages at once.” (Heath, 54). Yet, Emma Bovary’s story emerges as a result of her difference from the rest of the society she lives in. She is in conflict with her mediocre and tedious surroundings in respect of the responses she makes to the world she lives in. Among the three basic responses made by human beings, Emma’s response is “dreaming of an impossible absolute” while others around her “unquestionably accept things as they are” or “coldly and practically profiteer from whatever circumstances they meet.” (Fairlie, 33). However, Emma’s pursuit of ideals which leads to the imagining of passion, luxury and ecstasy prevents her from seeing the world in a realistic perspective or causes her to confuse reality and imagination with each other.
Madame Bovary is Gustave Flaubert’s first novel and is considered his masterpiece. It has been studied from various angles by the critics. Some study it as a realistic novel of the nineteenth century rooted in its social milieu. There are other critics who have studied it as a satire of romantic sensibility. It is simply assumed that Emma Bovary, the protagonist, embodied naive dreams and empty cliché that author wishes to ridicule, as excesses and mannerisms of romanticism. She is seen as a romantic idealist trapped in a mundane mercantile world. Innumerable theorists have discovered and analysed extensively a variety of questions raised by its style, themes, and aesthetic innovations. In this research paper an attempt has been made to analyse life of Emma Bovary as a paradigm of Lacanian desire.