Henry James' Washington Square
In Washington Square', Henry James used a refined technique of narration, language, symbolism and irony as he explored the psychological dimensions of his characters' actions, motivations and interpersonal relationships. He did so as he confronted the tragedy of the immorality of human beings, personified in the characters of Dr. Sloper and Morris Townsend, in dominating the spirit of Sloper's daughter, Catherine, for their own ends.
In other works of fiction where the oppressive circumstances of protagonists usually arise from failures of society and within the specific individual there is often an optimism to the extent that it is suggested that progress might eventually lift the individual or mankind beyond the scope of the type of situations depicted. In Washington Square', however, James' depiction of Catherine's tragedy could well be interpreted, at a universal level, as our susceptibility to the manipulative and domineering elements in human nature combined with those factors which drive us with passionate longing for another. Our hopes for an enlightened perspective of Catherine's situation diminish as she confronts an environment of emotional, psychological and motivational disregard and cruelty displayed in numerous situations of dialogue, interviews and conniving. We recognize, however, that Catherine's sufferings are intrinsic to human nature as she is depicted also as a protagonist who displays substance and a willingness to develop her perceptions of human behaviour at the cost of being isolated physically, psychologically and emotionally.
Catherine's dilemma begins in an overtly conventional yet dismal setting. This is the ordered and understated fashionable New York setting where she is victim to her father's calculated disregard and domineering behaviour and of the perceptions others have of her given their economic and social positions. She is, in Sloper's words, "absolutely unattractive." She is twenty, yet has never before, as Sloper points out, received suitors in the house. Mrs. Almond's protestations that Catherine is not unappealing are little more than a matter of form and she is admonished by Sloper for suggesting he give Catherine "more justice." Mrs. Penniman, for her part, readily perceives that without Catherine's full inheritance, Morris Townsend would have "nothing to enjoy" and proceeds to establish her role in appeasing her brother and giving incoherent counsel to the courtship between Catherine and Townsend. For Townsend himself, Catherine's "inferior characteristics" are a matter of course and a means to a financial end.
The characters perceive that unfeigned love for Catherine is close to an impossibility.
The conflict Catherine faces is Person versus self. “Little Bird, in the world to come, you will not be asked ‘why were you not George?’ or ‘why were you not Perkin?’ but ‘why were you not Catherine?’ ” (Cushman 17). It is depicted that Catherine tried to be everyone else but not herself. Hence, Catherine’s conflict is internal because she must change her conceptions. Catherine must accept who she is. Catherine’s conflict is resolved in the resolution. Catherine understands the Jewish woman’s advice. “And it came to my mind that I cannot run away. I am who I am wherever I am” (Cushman 202). Catherine understands she cannot be like Perkin or George, and she will not be asked if why she was not like Perkin or George. However, Catherine will be asked why she did not act like herself, and why she was not
Bette Howland, in her criticism of Henry James's Washington Square, focuses on two different aspects of the story's development. She begins by impressing on the reader how Henry James himself viewed his creation and then plunges into the history behind the plot. In doing this, she describes how Henry James has used irony to make this story his own creation. Half way through the article she changes directions and shows how Washington Square is the forerunner of his other novels. She describes how they all have the same basic plot.
In literature, we often see the “happy ending”, where the guy gets the girl, they ride off into the sunset together, forever. This is a consistent presentation across literature. Though another popular style, but less often seen, is that of the unhappy ending, which we will explore in this paper. Its style is one that can strike emotion through readers as they turn each page. In this work, we will analyze two classic works: “A Good Man is Hard to Find” by Flannery O’Connor, and “Babylon Revisited” by F. Scott Fitzgerald. Both stories share the same type of ending style. We will analyze the themes & symbols that each story has and compare the two.
For many centuries, literature has been used to communicated various ideas and wisdom gained from experiences. The idea of masculinity and male superiority can be best portrayed in Kate Chopin’s The Awakening. The novel takes place at a luxurious resort known as the Grand Isle, located in New Orleans, during the mid-1800s. Edna Pontellier, one of the main characters in the novel, struggles to find happiness, love, and freedom. Her attitude towards many aspects of life are much different than other married women around her. This novel is very unique mainly because of the time period it was written in. During this era, strict gender roles were enforced and women had many restrictions. The duties of women were strictly fixated on cooking, cleaning, and nurturing. Edna Pontellier craved for independence. She became depressed due to the monotonous and cookie cutter society that she was forced to conform in. The plot of the novel focuses on Edna’s journey to progress into an independent women in this male driven soc...
Washington Square Park is home to thousands of New York University Students, families leisurely strolling through the park on afternoons, people cooling off at the fountain during the summer, couples lounging on the green grass, and even home to the New York City Pillow Fight held during the summer. At the center of Greenwich Village, it provides an escape from the busy traffic and city surrounding it. Most importantly, it is home to the Washington Square Arch.
In her essay, “Loopholes of Resistance,” Michelle Burnham argues that “Aunt Marthy’s garret does not offer a retreat from the oppressive conditions of slavery – as, one might argue, the communal life in Aunt Marthy’s house does – so much as it enacts a repetition of them…[Thus] Harriet Jacobs escapes reigning discourses in structures only in the very process of affirming them” (289). In order to support this, one must first agree that Aunt Marthy’s house provides a retreat from slavery. I do not. Burnham seems to view the life inside Aunt Marthy’s house as one outside of and apart from slavery where family structure can exist, the mind can find some rest, comfort can be given, and a sense of peace and humanity can be achieved. In contrast, Burnham views the garret as a physical embodiment of the horrors of slavery, a place where family can only dream about being together, the mind is subjected to psychological warfare, comfort is non-existent, and only the fear and apprehension of inhumanity can be found. It is true that Aunt Marthy’s house paints and entirely different, much less severe, picture of slavery than that of the garret, but still, it is a picture of slavery differing only in that it temporarily masks the harsh realities of slavery whereas the garret openly portrays them. The garret’s close proximity to the house is symbolic of the ever-lurking presence of slavery and its power to break down and destroy families and lives until there is nothing left. Throughout her novel, Incidents in the Life of a Slave Girl, Harriet Jacobs presents these and several other structures that suggest a possible retreat from slavery, may appear from the outside to provide such a retreat, but ideally never can. Among these structures are religion, literacy, family, self, and freedom.
Both Elizabeth Barrett Browning’s “Hiram Powers’s Greek Slave” and Powers’s statue discuss the relationship between ideal, vulnerable beauty in the form of a Christian woman, and the resulting inspiration of political action, fuelled by pathos and compassionate sympathy. However, Browning provides an outsider’s verbal interpretation of the marble, calling the lack of severity into question, and thus suggesting that although capable of inducing a sympathetic reaction from the public, Powers’s sculpture, a picture of purity and modesty, may not be wholly successful in mimicking the dark horrors of slavery, and hence not have enough influence to cause lasting action.
Even though Rowlandson’s character is visibly troubled by the problems she went through in her story, A Narrative of The Captivity, her character shows strength, courage, and perseverance. Rowlandson’s character has been through so much; she lost her five-year-old child, was separated from her children, and even starved; through all of this, she still finds a way to pull through. Throughout her journey, she has been through hard times of loss and sacrifice. Lots of people have lost their family members, many others have been separated due to war or famine. Today, people still go through similar struggles and have to sacrifice certain things to make it in life. This story is something that people in the modern world can somewhat relate too. Much like the “hidden agenda” too often seen in captivity narratives such as Rowlandson’s, modern-day politics uses the pathos appeal to get sympathy and/or support from the viewer.
The Cycle of Oppression is evident in Justine’s, a minor character’s, trial in which she is forsaken by her people and “othered” based on crimes she did not commit. Immediately after she is suspected of murder, society begins to rise up against her, expressing their deep hatred. During her first appearance in trial, Justine “appeared confident in innocence, and did not tremble, although gazed on and execrated by thousands” (54). Shelley utilizes powerful language such as “execrated” to illustrate how the public — the “thousands” — all despised her. Although society a...
In the midst of pervasive evil, Frederick finds salvation in the form of love. His relationship with Catherine Barkley is a respite from the savagery. Their "union" leads him to establish his own principles and is ultimately his refuge from the massive chaos of war. Hemingway gives several clues throughout the novel that foreshadow Catherine's role in Frederick's development as well as the impact that their relationship has on his life. The reader can trace a pattern of regression from the war, each time mirrored by a progression in his attachment to Catherine. Conversely, a period of deeper devotion to Catherine predicts a revolution in his regard to the war. By the novel's conclusion, a reformation has occurred in Frederick Henry. He is transformed from a disillusioned young man, into a weathered soul that has suffered life's greatest agonies: to lose in love and to lose in war. When Henry is first introduced, he is arrogant and dissolute and h...
By any contemporary standards of behavior, Griselda actions are reprehensible; not only does she relinquish all semblances of personal volition, she deserts all duties of maternal guardianship as she forfeits her daughter and son to the--in so far as she knows--murderous intent of her husband. Regardless of what we think of her personal subservience to Walter, the surrendering of her children is a hard point to get around. Even the ever-testing Marquis himself, at his wife's release of their second child says he would have suspected her of malice and hardness of her heart had he not known for sure that she loved her children (IV 687-95). It is little wonder our students, in whom we try to foster a sense of personal responsibility and human sensitivity, initially find Griselda an insipid and morally reprehensible wimp.
Throughout the "critique," the author addresses not only the work itself, but also how the story came to be. I found it interesting to learn that Henry James had, in reality, only invented the character of Dr. Sloper. The other characters, as well as the novels main plot, had come from a story that James had been told. Considering the absolute realism of the novel, the fact that James had adapted it from reality makes perfect sense.
Throughout the narrative, the text utilizes the conflict over the crisis of cognition, or the very mystery regarding the Marquise’s lack of knowledge surrounding her mysterious pregnancy, as a catalyst for the presentation of the plurality of opinions associated with the Marquise’s current status in society and presumptions to the father’s identity. In itself, this state of cognitive dissonance prevents the Marquise from making any attempts at atoning for her supposed sin, as she herself is unaware of any possible transgressions responsible for her current predicament. In turn, this separation from the truth pushes the marquise to fall into the conviction that the “incomprehensible change[s] in her figure” and “inner sensations” (85) she felt were due to the god of Fantasy or Morpheus or even “one of his attendant dreams,” (74) thereby relinquishing her subconscious from any guilt. However, despite her self-assurance of innocence and desperate pleas at expressing her clear conscience, the marquise becomes subject to external pressures from both her family and society, who come to perc...
Much is said of the internal reality of the characters in Henry James's novel Washington Square. It is seen as a "psychological novel" where most of the action takes place in the minds of the characters. In an essay titled, "Washington Square: A Study in the Growth of an Inner Self," James W. Gargano addresses the internal reality of the character Catherine Sloper. Within the essay, Gargano argues that "James anatomizes the process by which Catherine's active, secret existence transforms her into an imaginative woman" (129). Although a few of his premises seem far-fetched, I agree with the major arguments of his critique. Most of his examples support his thesis well.
Catherine, nicknamed Kitty, is the fourth daughter in the Bennet family. She is “weak-spirited, irritable, and completely under Lydia’s guidance” (206). Like her younger sister, she is carefree and shows little remorse for her behavior. Lydia is the youngest daughter of the Bennet family and the tallest. As the favorite of Mrs. Bennet, she is “self-willed and careless” (206) and, like Catherine, she is “ignorant, idle, and vain” (207). Little concerns her more than potential husbands and officers of the militia. Each daughter of the Bennet family is vital to the complexity of Pride and Prejudice as each of their temperaments contradicts and complements those of the others.