One of the characteristics of Realism, in American literature at least, is the ironic use of perceptions of “appearance” vs. “reality.” With this in mind, Henry James’s “The Real Thing” and “The Beast in the Jungle” are two works wherein such characteristics can be shown to operate as James employs cleverly woven twists of “appearance” and “reality” in each of the plots.
In James’s “The Real Thing,” the plot is centered on an unnamed artist and his interactions with two sets of models: the Monarchs (members of genteel society), and Miss Churm and Oronte (members of the working class). The ironically named Monarchs are a couple who appear as though they have “ten thousand a year” but whose lives diverge dramatically from the literal definition of a monarch. Upon introduction to the artist, they unwittingly deceive him into initially assuming that they are interested in commissioning a portrait; in fact, the Monarchs are seeking work as sitters. The case of mistaken identity is further compounded by the artist who pretends to be a “great painter of portraits” but who is actually an illustrator whose depictions of nobility constitute his main source of income – his “pot-boilers.” James’s introductory interplay of character identity with appearance and reality serves as a clever backdrop for the story where reality conflicts with appearance.
While their outward social appearance and actions have an “indefinable air of prosperous thrift” and personify that of high-class society, the Major and Mrs. Monarch are actually penniless and no longer members of the genteel sect. But the Monarchs are unable to resolve their “appearance” of high society with their “reality” of financial destitution, and remain psychologically entrapped in a self-imposed netherworld of pseudo-culture and pseudo-class. Insistent upon being treated as members of the high society to which they no longer belong, the Monarchs also present a conflict of appearance and reality for the artist because he is forced to allow them the social deference of portrait sitters, yet pay them as models (viewed as their “superior but not their equal”). The complexity of appearance vs. reality is further illustrated when the artist realizes that while Major and Mrs. Monarch may appear to be the “real thing,” he is unable to transform their outward reflection of nobility onto his canvas without sacrificing his ...
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...m. James counters Marcher’s emotional distance from reality with May Bartram’s embrace of life – and love. But it is through the voyeuristic glimpse into Marcher’s internal machinations that readers understand the waste of a life based upon appearances.
Like the Monarchs in “The Real Thing” whose marriage to appearances entrapped them in world devoid of emotion, John Marcher’s identity is innately linked to “fine things, intrinsic features, pictures, heirlooms, and treasures of the arts” and he is similarly constrained in a self-imposed world of apathy. Although it appears that Marcher has an enriched life, he is actually a man with “… rather colourless (emphasis added) manners” who is satisfied to wait for the elusive “great thing” to happen. Because Marcher remains afraid to confront the “beast” (the metaphoric unknown in life), it is not until the death of May Bartram that he realizes her love for him was the “great thing,” and that he was waiting for something that he unknowingly possessed. The simple truth that John Marcher recognized – albeit too late – is that “It wouldn’t have been failure to be bankrupt, dishonoured, pilloried, hanged; it was failure not to be anything.”
... middle of paper ... ... This resonates with the dramatic irony of Richard’s depiction of “Christian prince” with “two props of virtue” in RIII, demonstrating the common connection of duplicity to the environment. Evidently, the play itself manipulates the audience’s perception of reality as it presents a historical recount designed to solidify the ruling monarch, and condemn Richard.
After years of loneliness and misery, Marcher realizes what he had been oblivious to and, ultimately, everything he had lost, most importantly, the love he had lost. “This horror of waking—this was knowledge, knowledge under the breath of which the very tears in his eyes seemed to freeze” (1177). He could have escaped his fate of nothingness and loneliness, “The escape would have been to love her; then, then he would have lived” (1176). Marcher’s punishment for being so selfish and self-absorbed was that “he had been the man of his time, the man, to whom nothing on earth was to have happened” (1176). This was the story of a man whose ego was the “beast” in the “jungle” of
Elisabeth Vigée-Lebrun was one of the most successful painters of her time. Over the course of her life, spanning from 1755-1842, she painted over 900 works. She enjoyed painting self portraits, completing almost 40 throughout her career, in the style of artists she admired such as Peter Paul Rubens (Montfort). However, the majority of her paintings were beautiful, colorful, idealized likenesses of the aristocrats of her time, the most well known of these being the Queen of France Marie Antoinette, whom she painted from 1779-1789. Not only was Elisabeth Vigée-Lebrun the Queen’s portrait painter for ten years, but she also became her close, personal friend. She saw only the luxurious, carefree, colorful, and fabulous lifestyle the aristocracy lived in, rather than the poverty and suffrage much of the rest of the country was going through. Elisabeth kept the ideals of the aristocracy she saw through Marie Antoinette throughout her life, painting a picture of them that she believed to be practically perfect. Elisabeth Vigée-Lebrun’s relationship with Marie Antoinette affected her social standing, politics, painting style, and career.
When reading Nathaniel Hawthorne’s “Young Goodman Brown” or Herman Melville’s “Bartleby the Scrivener,” the audience might notice how they are stories of men who become detached from the society after a notable change in how they act towards the world. However, while Bartleby’s disconnection stems from work-related changes, Young Goodman Brown’s disconnection is caused by a “spiritual” experience. I want to focus on how many things these characters have in common, to show what may have caused their change of view in the societies around them.
For many situations there exists both a perceived version of the situation and an actual version of the situation. Usually, these two versions vary in some sense. Some people will be able to understand honestly happened, but the majority is unable to see the truth of a situation. They instead view an inaccurate representation of the definite situation. George Orwell’s Such, Such Were the Joys, Juliet Schor’s The Overspent American, and Loren Eiseley’s The Firmament of Time, show how the truth of a situation is hidden by a façade.
The distance between the wealthy class and the rest has grown, but so has the idea of noblesse oblige. The Great Gatsby clearly shows all of these issues as they were in the ‘20s, and all of them can be paralleled to show the same issues in today’s times. Works Cited Auchincloss, Louis. A. “The American Dream: All Gush and Twinkle.” Reading on the Great Gatsby.
Hamlet is Shakespeare’s most famous tragedy, which contains and portrays many themes in outstanding ways. Throughout this play, the title character, Hamlet, is obsessed with trapping a culprit and bringing him to justice. (Hamlet, 15) Sorting fact from fiction and appearance from reality is a major theme of the play. Appearance vs. Reality encircles throughout the play and remains constant. It’s about those characters that play their roles behind the veil of duplicity. Within the play, everything appears to be true and accurate, but in reality it’s vice-versa. (Hamlet- Appearance vs. Reality) In this play, Appearance vs. Reality is dealt with by many characters. The way Shakespeare used this theme in Hamlet is not only interesting, but quite astonishing in the way it affects the play in general, but the ending tremendously.
Watt argues that the characters in a novel owe their individuality to the realistic presentation. "Realism" is expressed by a rejection of traditional plots, by particularity, emphasis on the personality of the character, a consciousness of duration of time and space and its expression in style.
Literacy, as defined by the Merriam-Webster Dictionary, is the ability to read and write, and the quality or state of being literate. Although this is a technically accurate definition of the word, literacy to me is more than the comprehension of certain texts and the capability to produce pieces of writing. It is the ability to experience emotions, develop ideas, and draw personal connections to the works of literature being read. It involves possessing the capacity to be able to react to the text positively, negatively, or even neutrally, contributing to a personal development of one’s literary self.
The textbook definition of “literacy”, is the ability to read and write. However, in my opinion, the true definition of the word depends on what literacy means to an individual. In today's society, being literate is almost always required to get any type of decent job. Literacy is definitely the first step of many to be successful in today's society. However, that is not the only means of importance that literacy holds. The fact that literacy has different definitions ties into the fact that literacy has had different effects on certain people throughout their lives. Most people in today's society seem to take literacy for granted because they view it as a hassle or obligation. I do not view literacy as that because of how it has helped me get through the toughest times in my life. In reality, you should love to read no matter what genre it is, and you should write until your hands go numb. Throughout my life, literacy has been a backbone of sorts throughout the struggles I've been through. By using literacy as a form of support, it has allowed me to grow a strong connection to reading and writing and truly appreciate it. To me, literacy means hope. Literacy has helped me heal and has helped me connect with people from all over the country who have changed my life forever.
In the late nineteenth century many European, and especially British, authors, play writes and poets wrote about the inadequacies of the upper class. Often times the author will not blatantly express his feelings, but rather he will hide them behind the plot or characters in his story. In Oscar Wilde’s The Importance of Being Earnest, Wilde mocks the values of the upper class. By fully exaggerating the flaws of the upper class, Wilde succeeds in expressing his beliefs that men and women of the upper class are shallow, foolish, and have no respectable values.
Across cultures, continents, and worlds, the majority of things within the scope of our very own humanity can be boiled down to two things: those who are dominant, and those who get dominated. Within these statuses lie stories of power struggles, rebellion, the rising and falling of those with influence, and the interconnection between a being with power and the people under his ruling. Through the visual works catered to this subject, we will discuss themes such as the power of immortalization, divinity amongst humans, what it really means to be a ruler, and many other details making up the ever-present, multifaceted relationship between rulers and their subject. With the assistance of the Blanton Museum of Art, I will be able to showcase
At first glance, Oscar Wilde’s The Importance of Being Earnest and Lawrence Weschler’s Boggs: A Comedy of Values treat the issue of art’s function in converse ways. Wilde, the quintessential Aesthete, asserts that art should exist for the sake of beauty alone. Boggs, on the other hand, contends that art should serve a practical function: it should wake individuals from their sleepwalking by highlighting essential, overlooked aspects of society. Fascinatingly, neither Wilde nor Boggs firmly adheres to his ostensible artistic purpose. Wilde’s Importance of Being Earnest, although it showcases certain Aesthetic elements, incisively critiques Victorian society. The play is not a functionless work of pure beauty. Conversely, Boggs’ project clearly serves an instructional function while it simultaneously revels in its own beauty. Moreover, Boggs himself is often uncertain of what his art represents and does. When placed side-by-side, The Importance of Being Earnest and Boggs queer the division between Aestheticism and Functionalism, suggesting that both schools are unattainable ideals. In doing so, the two texts elucidate a holistic conception of art that fuses aesthetic value to social critique. Aesthetic beauty coalesces with function.
Literacy is the term used when talking about the ability to read and write. It leads to success in K-12 school, post-secondary school, the ability to compete in the job market, and participation in democratic process (Wei, Blackorby, & Schiller, 2011). Teaching young children how to read and write however is a very complex process that requires a teacher to employ a myriad of strategies to help students. When a teacher takes into consideration all the different abilities in a classroom having multiple strategies that help all students become proficient in speaking and listening, reading, and writing, is essential.
The use of realism versus illusion is very evident through multiple characters within the works The men in the Loman family in “Death of a Salesman” live in a dreamlike state waiting for the American Dream to influence their lives for the better yet they never complete any actions that would lead them to the success they so desire. . In “A Streetcar Named Desire” the women are in an elusive state as they look for the perfect relationship, but cannot grasp one due to the events that took place in their