One particular connection between Susanna’s Moodie and Atwood’s Moodie is the use of language. Although the subject of language comes up in considerably different ways, language is still an important theme in both pieces of work. Susanna Moodie’s Roughing it in the Bush is meant as a means by which to convey her animosity towards the land agents. These land agents convinced her, and many English people alike, to emigrate and give up life in England in favour of a life of supposed riches in Canada. Once moved, the English people would come to notice that life in Canada was not all it was claimed to have been. There were certainly no riches. On the contrary, life was completely different and required dedication to sustain life. Moodie, through …show more content…
For example, Susanna’s Moodie discusses her sentiments towards her new living arrangements when she says it was, “a feeling very nearly allied to that which the condemned criminal entertains for his cell--his only hope for escape being through the portals of the grave” (Moodie, 124). After discussing the tinkling brook and how (even to a small degree) advantageous their new homestead was, Moodie compares her experience to that of a criminal in a jail cell. She finds joy in her new home and moments later she names herself a criminal whose only way of escaping her punishment is through death (in that very home or cell). These are both strong claims, and because of that it is easy to see here how divided down the middle Moodie is. Her divided mind arose from her perceptions of romance to reality. Moodie romanticizes all that is around her, but then comes back to note the reality of the situation she is living in. So, in this case, she romanticized the sounds of the brook and the advantages of her settlement, and then she brings herself back to her cold, adverse Canadian reality. Susanna’s Moodie goes through conflicting emotions in her head. She is in a constantly confused as to whether she loves the place or detests …show more content…
For instance, Atwood’s Moodie concerns herself with the idea that the trees are conspiring against her. She claims that she hears, “malice in the trees’ whispers” (Atwood, 819). Although she hears these hostile whispers, she is still interested in understanding that very nature that she believes is conspiring against her. This is where the idea of paranoid schizophrenia comes in. When Atwood makes the claim that Moodie, “[needs] wolf’s eyes to see” (Atwood, 819). In simpler terms, Atwood is saying that you have to become the things you fear in order to understand them. In a sense, Moodie is attempting to make her fears a part of her, and by becoming one with wilderness she is trying to become superior to it. Why would you want to understand something you detest, fear, and believe is conspiring against you? The answer is simple. It is because Moodie is a paranoid schizophrenic. Another perfect example is in Atwood’s Thoughts from Underground. When Atwood’s Moodie is discussing her feelings concerning Canada she claims that, “I felt I ought to love/ this country/I said I loved it/ and my mind saw double” (Atwood, 822). This quote hardly needs explaining because her divided thoughts are very apparent. She feels like she is obligated to love this country and when she said she loved it, her mind responded by seeing both sides. Both these sides would be extreme opposites and Moodie’s mind would see the appeal of each. There are
Mood is how the audience feels about a piece of literature. This differs from tone because tone is the author’s mood about a piece of literature. Suspense and mood are often closely connected because how you feel about a text can help create suspense. If you feel tense or nervous about something that will add to the suspense already there; however, if you feel devastated or depressed about something, it may not add the same amount of suspense as it could’ve if it made you feel tense or nervous. An example of mood in Cujo is when Stephen King wrote, “She saw the dog’s tail and the top of its broad back over the hood of the Pinto. It was going around to Tad’s side of the car -- And Tad’s window wasn’t shut.” The mood of this piece of text evidence is nervous and maybe a little bit scared of what will happen to Tad. The mood in this part of the excerpt adds to the suspense because the suspense of this excerpt is already making you feel anxious, and the mood makes the suspense stronger. Another example of mood in Cujo is when Donna first heard Cujo growl. It had seemed directionless to her. It was nowhere and everywhere at the same time. She finally figured out that it came from the garage. The mood here would be nightmarish and a little nervous. This is because the reader would read the paragraph and think that it was something out of a nightmare, and they would be nervous for Donna because they wouldn’t want her getting hurt. The mood
‘The Drover’s Wife’ opens with a vivid visual image of the house which becomes a character in itself, the lexical word chain “round timber, slabs, and stringy bark, and floored with split slabs” shows us the poor, rough materials used to build only what is necessary to survive. Thus, we can visualise the simplistic nature of the lives the drover’s wife and her children live in their environment. Strong visual imagery is employed to depict the landscape; “Bush all round – bush with no horizon, for the country is flat. No ranges in the distance… No undergrowth”. The repetition of “no” emphasises the lack of distinguishing features, the land is monotonous and contains “nothing to relieve the eye”. The environment is isolated; they are alone “There is nothing to see, however, and not a soul to meet”. This helps the audience to develop an understanding of the isolation and loneliness of Australians living in the bush during the Colonial
This definition points to schizophrenic paranoia as the mental disorder of the narrator, and even possibly, Poe. This is further made apparent through symptoms which the narrator exhibits. The first symptom is delusion, which is that which may exists in the mind but does not exist in reality. The second symptom is catatonic behavior. The third symptom is hallucination, or the unreal sensory experience that occurs in the patient’s mind, which is made apparent through the auditory sense of the narrator. The narrator exaggerates evidences in the narrator deed are exaggerated. “And now a new anxiety seized me the sound would be heard by a neighbour!” – This is the quotation in the part where the narrator came into the old man’s room. He assured that he heard a strange sound considered as the heart beat of the old man and it was loud for him. He accused that the sound was too loud that even the neighbor might be able to hear it. He continues: “It grew louder - louder - louder! And still the men chatted pleasantly, and smiled. Was it possible they heard not? Almighty God! - no, no! They heard! - they suspected! - they knew! - they were making a mockery of my horror!-this I thought, and this I think.” This is the part when the narrator and the police were having chat in the room. The narrator heard the
In "Owl Creek Bridge," the protagonist's narrative is realistic and reasonable and with the author’s creative imagination, the narration shifted to enable the readers to see inside Farquhar's mind. The way the mind perceived how an emotional conflict changes the way t...
The human body and mind are the most complex and intricate tools known to man. The connection between the two are remarkable, the way body feels pain and the mind is able to understand from where and how the pain is being formed, the way the body lags and drops when the mind does not have enough sleep and rest. Most curiously, it is the way our body and mind speak to each other without really knowing. It is the uncomfortable feeling in your chest, the tenseness of your shoulders and the goose-bumps on your arms that are the very basics of human intuition. Intuition is knowing something without having a logical or reasonable explanation to follow the feeling. But it is when our intuition overcomes our ability to think that we become paranoid; constantly looking over our shoulders, noticing people and objects that were never noticed before, and having this retching feeling that someone is out to get you. Paranoia is a thought process where anxiety and fear accumulate to the point where the person suffers from irritation and delusions. It is often developed through an inner guilty conscience which threatens the self. It is that exact tingling sensation in your stomach, the tightness in your throat and the eerie feeling that you are being watched that makes James and Hitchcock's pieces realistically fantastical. The alternate worlds illustrated in these pieces are not of those of dreams and fairy tales, nor those people superheroes or chimeras, but a realist world, where the minds of the characters are exposed and the only source of reliability. James depicts a young woman who struggles to be a heroine for her wards, only to be torn between the lines of sanity as she questions the existence of two ghosts, while Hitchcock’s psycho can ...
Situations and environment can cause paranoia which could manipulate the individual's mind. In The Lord of the Flies, another piece of evidence is when Jack was not able to deal with the pressure of being in the wild. When killing a pig after hunting he would chant “ ‘Kill the beast! Cut his throat! Spill his blood! Do him in’ ” (Golding 139)! In Golding’s novel, he insists that not everyone can remain calm when enclosed in a different environment. With Jack being stuck on a island with no civilization, he loses his mind and becomes a savage on a blinded rampage. In the article, “The Milgram Obedience Experiment”, Stanley Milgram quoted, “The social psychology of this century reveals a major lesson: often it is not so much the kind of person a man is as the kind of situation in which he finds himself that determines how he will act” (Cherry). In “The
In his style, word choice play a role as evidenced in Arthur Dimmesdale’s last moments when Chillingworth “[tears] away the ministerial bands from before his chest” and the “down he [sinks] upon the scaffold” (210). Here, words like “taken” are replaced by “tore” and falls by “sank.” By doing this, the tone is not monotonous, rather it is theatrical and thrilling. As for sentence structure, it is obvious that Hawthorne’s sentences is unconventional to the modern eye as it uses an unconventional amount of commas. The reasoning behind this is not nearly likely to confuse readers, rather the wordiness adds depth to the story and can keep the intrigued reader thirsty to learn more. In some instances, even a suspenseful tone is created since the sentences are dragged on. The dynamic tone can switch from a peaceful one where the setting is being described to a suspenseful one such as where Chillingworth lurks over Dimmesdale’s sleeping body. This ability to seamlessly flow from one feeling to another adds to the overall flow of the story as well. Hawthorne liberally uses motifs for tone. One example is the repetition of Pearl’s strange yet acute behavior. He does this to emphasize the fact that Pearl is a product of sin. As for tone, it makes for a dreadful tone since Hester does not enjoy being incessantly reminded of her sin and crime. She explicitly expresses this position
Heaney emphasizes the importance of the experience of Blackberry picking by using diction that relates to sensory imagery and human urges. He describes the flesh of the first berry of summer to be “sweet like a thickened wine” a beverage with a taste that lingers—just as he describes the blackberries to, as they “Leave stains upon the tongue.” As if the first harkened that the best was yet to come, he jumped at the chance to be drunk on blackberries, for the one taste had left him with a lust and hunger for more. Driven by something deeper than the simple desires of their younger years, they went “out with milk cans, pea tins, jam pots” without a thought to the many dangers, "the briars that scratched and the wet grass that bleached their boots." And they emerged with berries “burning” in their containers, their palms sticky as with blood with the reference to Bluebeard when he murdered his wives. Clearly this childhood experience is no a mere description of play. The metaphors and diction, especially those which relates to the sense, show that this experience touched the young Heaney at a different level.
Furthermore, Wordsworth’s assertion of feelings as the effects of an action or a situation, which means that actions should influence the emotions of the character and not the other way around, is dissimilar to The Raven’s character’s feeling of desperation in which he succumbed to his distress. However, the lesson derived from the bizarre workings of the human mind in preferring more devotion to the pain for the sake of “preserving the memory,” as “The Raven” illustrates, exposes to us how a particular person behaves towards grief. The statement thus proves in relation to Coleridge’s statement of the readers’ elicitation of the poem is more significant than the poem itself (in reference to his emphasis on the importance of the “Return”). Another variation between Wordsworth and Coleridge is that the former claims that the writer must bring the language near to the language of men, whilst the latter believes that the language of poetry should beautiful and elevated. “The Raven” in this case
Throughout the novel the reader gets a clear sense of Edna Pontellier's peculiar mind and her manic depressive state. She is continually plagued by the moment. Her mood shifts from highs to lows show the reader that a sadness is perpetually within her:
Carl Jung was a Swiss psychologist and psychiatrist who developed many theories concerning the unconscious mind. Jung’s theories state that the unconscious part of a human’s psyche has two different layers, the personal unconscious and the collective unconscious. The personal unconscious is unique to every individual; however, the collective unconscious “is inborn.” (Carl Jung, Four Archetypes, 3) The collective unconscious is present in everyone’s psyche, and it contains archetypes which are “those psychic contents which have not yet been submitted to conscious elaboration” (Jung, Archetypes, 5); they are templates of thought that have been inherited through the collective unconscious. Jung has defined many different archetypes such as the archetype of the mother, the archetype of the hero, the archetype of the shadow, etc. These Jungian archetypes are often projected by the collective unconscious onto others. If the novel A Prayer for Owen Meany by John Irving is examined through a Jungian archetypal lens it is possible to discern different archetypes projected by the protagonist’s unconscious self to illustrate the effects of the collective unconscious on character and plot analysis.
Her tone is so happy through out the whole story because she is so happy to go to China to meet her new family members and also rekindle with old family members. “And I can’t help myself. I also have misty eyes, as if I had seen this a long, long time ago, and had almost forgotten.” (264) She said that as she was arriving to China, showing how happy she was. On the other hand, the main character who is nameless in Cathedral is so bitter through out the whole story. His wife even mentions that he doesn’t have any friends. The only time he didn’t seem like he was in a bad mood was at the end of the story, when drew a cathedral with the blind man, so that the blind man could “see” what a cathedral looked like. Robert tells the man to draw with his eyes closed, then when he was done, he told him to open his eyes and tell him out the picture looked, but he didn’t. “My eyes were still closed. I was in my house. I knew that. But I didn’t feel like I was inside anything” (42) He was different now and had a better attitude towards blind
H.P. Lovecraft’s fascination in supernatural theories plays into a main basis for his novels. (Wohleber) With the unknown lurking, Lovecraft incorporates horror through the use of psychological fear as a form of expression making it become crucial for many of his works. At the Mountains of Madness encompasses this thought by the expeditions before and after effects on the characters. The urge to be a success fills the scientists up with courage to embark on such a dangerous trip; however, after the trip the survivors, Danforth and Dyer, had lost all sense of sanity. “On our return Danforth was close to hysterics..promise to say shew our sketches or say anything.” (Lovecraft 176.) Their eyes couldn’t believe what was seen having them debate whether it was hallucinations or real. Ultimately this made them reach a decision where the world will not have to question their authority, for they will both keep their mouth shut. This novel expresses a psychological factor through the use of scientific theories showing the horror that lies beneath them.
In the short story “The Yellow Wallpaper” by Charlotte Perkins Gilman it takes place in the 19th century where dealing with mental disorders was as similar as dealing with any physical disorder. Paranoia was a very common mental disorder back in the 19th century. In fact, “Under the unerring scrutiny of the two bulbous eyes in the yellow wallpaper, the narrator passes through stages from concern to paranoia and, finally, to madness” (Bak P5). This quote shows her development in to madness by the creative description the narrator gave about the yellow wallpaper. The relationship between creativity and madness are closely tie together because the narrator only thinks about the yellow wallpaper, with what it signifies, which drives her to complete madness.
She defines her idea of what is right in a relationship by describing how hard and painful it is for her to stray from that ideal in this instance. As the poem evolves, one can begin to see the author having a conflict with values, while simultaneously expressing which values are hers and which are unnatural to her. She accomplishes this accounting of values by personalizing her position in a somewhat unsettling way throughout the poem.