Henry James' The Aspern Papers The Aspern Papers by Henry James illustrates a classic opposition throughout the story: the underestimation of the old by the young. The narrator, Aspern’s publisher, sets himself to the task of retrieving several mysterious “papers” from a former lover of his idol, and goes in with the easy confidence of a young man who never dreams that anyone, much less an elderly lady, could be not one, but in fact several, steps ahead of him at all times in his hunt for literary gold. The relationship between Miss Bordereau and the narrator is that of the cat and the mouse, with the narrator believing he is the cat, and Miss Bordereau knowing that she has the upper hand by the simple fact of possession. The narrator is certain the love letters exist, but Miss Bordereau has no intention of turning over her private affairs to an impudent stranger who does not even have the decency to be straightforward and ask her about the letters– instead he concentrates on her niece, Miss Tina, and in effect seals his own destiny with that choice, leading to the option of marriage or losing the papers completely. From the first meeting between the narrator and Miss Bordereau, it seems that the old woman has a very clear idea of the character of Aspern’s publisher and knows precisely what he is after. Although the narrator has some doubts as to the success of his admiration for her garden, her niece, and her home, stating that “She listened to me in perfect stillness and I felt her look at me with great penetration,” overall he never doubts his eventual success until his final defeat at Miss Bordereau’s deathbed (James, 16). He does try to act natural and jovial in her presence, but there is always an underlying t... ... middle of paper ... ...they will willingly hand him the letters with their blessing. In an obvious reversal of this prediction, however, is Miss Bordereau’s response to the narrator’s asking to push her wheelchair from the balcony overlooking the garden– “Oh yes, you may move me this way– you shan’t any other!” (James, 66). Miss Bordereau is always moving beyond the reach of the narrator, but he does not realize just how far beyond his reach the beloved papers are until the conclusion of the story: Miss Bordereau is dead, Miss Tina is no longer a pliable tool, and the papers have been irrevocably turned into unreadable ash. The relationship that he sought to form between himself and Miss Bordereau through the intermediary of Miss Tina has left him with nothing and has left Miss Bordereau laughing in her grave at the young, overconfident literary who thought he could get the better of her.
Like the Good Other Woman, the Evil Other Woman often spends much of her life hidden away in the castle, secret room, or whatever, a fact suggesting that even a virtuous woman’s lot is the same she would have merited had she been the worst of criminals. The heroine’s discovery of such Other Women is in the one case an encounter with women’s oppression-their confinement as wives, mothers, and daughters-and in the other with a related repression: the confinement of a Hidden Woman inside those genteel writers and readers who, in the idealization of the heroine’s virtues, displace their own rebellious
The poet conveys his attitude toward the character in a detached manner, seeing as the poem is not written in the perspective of the character or someone close to him. The speaker details the actions of the character in a sympathetic, respectful tone, but the choice of actions that the poet chooses to include seem to mock him. Perhaps most representative of this assertion is the choice to make the first word of both the novel and the poem “Cabbage,” immediately indicating that the novel the character has waited years to write will likely not be of good quality (1). Additionally, the poet uses the simile “a trophy pen, / like a trophy wife,” describing the pen that would play such an integral role in writing the novel with a negative connotation (2-3). The repetition of the phrase “not cheap” suggests that the extensive amount of resources the character has invested in the creation of his novel may have simply been a waste. Additionally, the detail that the character “dreamed in free moments at his office” and “excitingly” began writing is undercut by the first word being “cabbage” (17-21). In the event that the first word was more mellow, the tone of the poet would be very similar to that of the speaker. However, the choices in detail as well as the use of specific literary devices keep the tone of the poet and the tone of the speaker on two different
The narrator’s insecurities unfold when it takes him almost five pages just to demonstrate how close the friendship is between his wife and Robert. It is as though he is justifying his irrational behavior or perhaps questioning if his wife could be secretly in love with Robert. The narrator assumes this because his wife only writes poems if something really important happens to her. He recalls that his wife never forgot that instant when Robert "touched his fingers to every part of her face...
Before Mrs. Ames and the mother realize the restrictions of their old lives, their worlds have been full of disillusionment and ignorance. Mrs. Ames, for example, is oppressed by her husband’s silence and the search for love and tenderness from anyone, because she lives each day alone, ignored by her scornful husband. And, as a result of being left companionless, she does not mature, rather she longs for tenderness. In other words, Boyle explains her dysfunctional relationship with her husband, “The mystery and silence of her husband’s mind lay like a chiding finger of her lips. Her eyes were gray for the light had been extinguished in them” (57). That is, Mrs. Ames’ spirit remains oppressed by her husband who treats her as a child, and, in doing so, isolates her from his world.
With a husband and two children at the age of twenty eight, Edna Pontillier realized that the mother-wife life was not for her. With her new found independence Edna’s husband was unsure of how to handle his new untraditional wife. “I came to consult—no, not precisely to consult—to talk to you about Edna. I don't know what ails her.”(pg. 109) Mr. Pontillier is a loving and good husband but, his slight narcissistic personality causes him to lose touch with his wife. Mr. Pontillier buys Edna bonbons and compliments her in front of their friends but it would seem that he enjoys spending time with his friends and working more than he values his time with his wife. “Coming back to dinner?" his wife called after him. He halted a moment and shrugged his shoulders.”(pg. 8) The only reason Mrs. Pontillier stays with her husband for so long is because of her children. Although the Pontillier children are not major characters they help demonstrate her true commitment. Edna would rather die than let her children think their mother left them to be with another man. “She thought of Leonce and the children. They were a part of her life. But they need not have thought that they could possess her, body...
In Part I of the novel, Agee quickly establishes the importance of the father-son relationship. Rufus Follet, Jay's six-year-old son, accompanies his father to the silent film theatre against the objection of Rufus's mother, who finds Charlie Chaplin (one of James Agee's heroes) “nasty” and “vulgar.” This disagreement underscores the marital conflict that underlies Rufus's ambivalent feelings toward both his parents. When Jay takes Rufus to a neighborhood tavern after the picture show, despite the father's warmth and love for his son, it is clear that the father's pride is constrained by the fact that the son's proclivities, even at this early age, follow the mother's interests in “culture” rather than the father's more democratic tastes for athletic ability and social pursuits. Tensions between Rufus's parents are apparent as Jay's drinking and “vulgar” habits become a point of contention in the household, with the child Rufus caught between his sometimes bickering parents. For her part, Mary Follet is a character whose extreme subjection to moralistic attitudes suggests...
To begin, In the text on paragraph 10 page 326 the author states”Mother regarded me warmly. She gave me to understand that she was glad I had found what I have been looking for, that she and father were happy to sit with their coffee and would not be coming down.”This is important because she realizes they
The narrator in “The Yellow Wallpaper” and Elisa Allen of “The Crysanthemums” both have husbands who fancy the idea of knowing what their wives want and need. With such attitudes and beliefs, these men contribute to the feeling of confinement that ultimately leads to the loss of sanity of their wives. The narrator’s husband also assumes that he knows what is best for his wife. He thinks isolation and confinement will cure her “nervous depression.” Nevertheless, this “cure” makes her weak; it transforms her into a woman gone mad. On the way to dinner, Elisa asks her husband about the fights and his immediate reply is, “We can go if you want, but I don’t think you would like them much.” He cannot fathom the idea that she may actually enjoy this non-feminine event.
Both Nora and the narrator of “The Yellow Wall-Paper” suffer from their silent passivity and submissiveness. Nora Helmer, who nearly “lost [her] mind” (Ibsen ), is able to save herself by being assertive and speaking out, confronting Torvald, her past, and her need to educate herself in the ways of the world. Unfortunately Gilman’s character keeps her feelings inside, and, as a result withdraws into herself and becomes insane. The narrator asserts her disjunction from reality as she tells John: “I’ve got out at last…in spite of you and Jane...and you can’t put me back” (Gilman 53), sloughing off the person she once was, “Jane” to become the “woman” in the paper.
rich and noble and Prejudice were the issues of the time. This is a classical love story from the eighteenth
The Age of Innocence by Edith Wharton is a book that gave the word “love” many other meanings, such as impossible, meaningless and incomplete. There were many unbearable obstacles that Countess Ellen Olenska, one of the main characters, had to face because of love. She was treated badly by many people and always longed for love but never obtained it. With everyone cursing her, betraying her and hurting her, there was one person who was always there for her. Newland Archer wasn’t only sympathetic towards her; he also began to fall in love with her. The love she always wanted. He was the man who truly cared for her and always helped her make decisions. Out of all the selfish people in New York who degraded her, including her very close relatives, Newland Archer was one person who was there to listen to her problems and helped her solve them.
A man already in decay, having given my best years to feed the hungry dream of knowledge,—what had I to do with youth and beauty like thine own! Misshapen from my birth-hour, how could I delude myself with the idea that intellectual gifts might veil physical deformity in a young girl’s fantasy! … Nay, from the moment when we came down the old church-steps together, a married pair, I might have beheld the bale-...
Within this extended essay, the subject chosen to study and formulate a question from was English Literature, in particular the portrayal of women during the 19th and 20th centuries, where the following novels 'The Great Gatsby' written by F. Scott Fitzgerald and Jane Austen's 'Pride and Prejudice' were set in and originated the basis from. The question is as follows 'How does Jane Austen and F Scott Fitzgerald portray gender inequalities in both lower and upper class relationships particularly through love and marriage within the novels 'Pride and Prejudice' and 'The Great Gatsby' from the different era's it was written in?' This particular topic was chosen reflecting the morality and social class during the two different era's and determining whether there was change in the characteristics of women as well as men and how their behaviour was depicted through the two completely different stories, as they both reflect the same ethical principles in terms of love and marriage. The two novels were chosen in particular to view their differences as well as their similarities in terms of gender inequality through love and marriage, as the different era's it was set in gives a broader view in context about how society behaved and what each author was trying to portray through their different circumstances, bringing forward a similar message in both novels.
Many argue that F. Scott Fitzgerald's The Great Gatsby is an example of the "great American love story", but it is not. The Great Gatsby is not a tale about perfect love; it is a tale of love and lust corrupting individuals in their lives, and of an American dream that is never fulfilled. Throughout the story, we follow multiple relationships, but focus is on the single relationship between Gatsby and Daisy. This relationship, however, fails to fulfill many requirements that would make it a true love story, and thus, while some hardship is to be expected, this relationship encounters an excessive amount. To determine if The Great Gatsby is a "great American love story", it is necessary to examine what this ideal actually is, as well as how Gatsby and Daisy fit into the mold, and it quickly becomes apparent that they do not.
Millay, Edna St. Vincent. “Love Is Not All.” Making Arguments about Literature: A Compact Guide And Anthology. Ed. John Schilb and John Clifford. Boston: Bedford/St. Martins, 2005. 349.