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a freudian psychoanalysis of the haunting of hill house
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such as her isolation and unhappiness with her ‘husband.’ Jackson shows the flawed and even defected relationship between husband and wife in the 1950s through the portrayal of Margaret and her new husband. Life continues like this, and Margaret does not seem concerned about the new John or the whereabouts of actual husband, until one day when Margaret is alone at home with her children and suddenly decides that she can no longer bear “another afternoon of widowhood” (Stranger 64). Rather, she decides to spend the day shopping, buying presents for her family. Even in confusing times, she puts her family first. Once Margaret is done shopping, she is on her way home, driving in a taxi, when she discovers that she no longer knows where she lives …show more content…
According to John Parks, “most of Jackson’s protagonists are emotionally violated and must struggle desperately to overcome their estrangement and dislocation. And most of them fail” (16). This sense of estrangement and dislocation is a direct effect of the wife’s underappreciated role at the home, the very home that serves as a prison to the wife. The story “The Haunting of Hill House” is one of a woman in her thirties, who devoted her youth caring selflessly for her elderly and ill mother. This devotion brought little to no fruit or appreciation of her service. Tirelessly giving made Eleanor, the protagonist, weary and discouraged. Eleanor dreams of being free and living the youth that she had in a sense, lost. Upon being invited to stay at the huge yet slightly formidable mansion, Hill House, Eleanor eagerly accepts. Taking the car, despite opposition from her sister and mother, she sets off for Hill House, driving for what seems to be an eternity, and enjoying her freedom at last. When she stops at a restaurant to eat, she overhears a family’s conversation. It is centered around a young child who is asking insistently for her “cup of stars” which the mother explains to the server is a sippy cup with stars on the bottom (Haunting 22). The child eventually is told to stop asking since her mother is unable to give to her the cup, which was left at home. Eleanor, overhearing all of this, leans toward the child and says, “Don’t do it… Insist on your cup of stars. Once they have trapped you into being like everybody else, you will never see your cup of stars again. Don’t do it” (Haunting 22). Eleanor
When seeing the writing, Eleanor immediately demands for someone to wipe the letters off of the wall and describes the writing as being crazy. Since Eleanor is aware the house knows her name she begins to feel easily paranoid. Eleanor finds comfort and a sense of belonging in Hill House which is why the writing appears asking her to come home. The house feels when Eleanor is feeling upset which shows they are connected and the house shows this by showing little signs such as asking Eleanor to come
In Shirley Jackson's novel "The Haunting of Hill House", there are numerous traces of the representation of the uncanny which was suggested by Sigmund Freud. In the story, the Hill House itself is an uncanny figure to the central protagonist, Eleanor, as it features as her mother which has an ambivalent nature as the meaning of the German word of `uncanny' itself. Moreover, the house also acts as a mirror reflecting her own image so that she can see herself by looking at the house, thus the house is actually an allegory of Eleanor's psychological condition and she is literally consumed by it in the end as the boundary between her and the house collapses. Besides, another protagonist, Theodora, is a double of Eleanor as she figures her opposite side which is her denied self and self-destructiveness while she also expresses the repressed feelings of Eleanor. These examples match with the concept of the uncanny which stresses on the uncanny effect of the `Doubling' and `Infantile complexes' . (Alison 32)
Sociology relates to this novel in so many different ways. The family in the story, Flowers in the Attic, written by V.C. Andrews, starts off as a family of procreation, a family established through marriage, which includes the mother (Mrs. Dollanger), the father (Mr. Dollanger), and the four children: Cathy (the oldest daughter), Chris (the second oldest son), Carrie and Corey (the young twins). A conflict begins when the father dies in a car wreck, so the mother and her four children must move in her rich parents estate because they have no money and nowhere to stay. After the father's death, the norms of the children changed. The norms of the children were to stay hidden in the basement by them selves because Mrs. Dollanger may only earn back the right to inherit her father's estate by falsifying that she has no children by her husband who was also her half-uncle. The original agreement was that they can leave the basement when their grandfather dies. The rules of the house were given by the dying grandfather that stated if Mrs. Dollanger was found to have children that she would be disinherited again.
She brings light to an issue that divided her family from her father, his “obsession” with fixing up the house. She states, "I grew to resent the way my father treated his furniture like children, and his children like furniture" (14). She believes her father was detached, living his life through restoring old furniture and fixing up the family home, leaving little attention for the family that lived there. She was suspicious of her father’s décor saying, “they were lies” (14). This left much to be desired, often leading her to question whether her father even liked having a family. This feeling is expressed when she says, "Sometimes, when things were going well, I think my father actually enjoyed having a family. Or at least, the air of authenticity we lent to his exhibit. A sort of still life with children" (13). He occupied his life with fixing up his home almost as if he was trying to cover up the problems going on inside himself. Bechdel suggests that the antique mirrors decorating the home were meant to distract visitors from his personal shame. She says, "His shame inhabited our house as pervasively and invisibly as the aromatic musk of aging mahogany" (20). She states that this shame stemmed from her father’s closeted sexual preferences. This would later connect them in a very powerful
Marilynne Robinson gives voice to a realm of consciousness beyond the bounds of reason in her novel Housekeeping. Possibly concealed by the melancholy but gently methodical tone, boundaries and limits of perception are constantly redefined, rediscovered, and reevaluated. Ruth, as the narrator, leads the reader through the sorrowful events and the mundane details of her childhood and adolescence. She attempts to reconcile her experiences, fragmented and unified, past, present, and future, in order to better understand or substantiate the transient life she leads with her aunt Sylvie. Rather than the wooden structure built by Edmund Foster, the house Ruth eventually comes to inhabit with Sylvie and learn to "keep" is metaphoric. "...it seemed something I had lost might be found in Sylvie's house" (124). The very act of housekeeping invites a radical revision of fundamental concepts like time, memory, and meaning.
It tells the story of a woman who lives secluded in mind, body, and soul for about three months in what is a “hereditary estate” (Gilman 462) , but how she portrays to the reader as “a haunted mansion” (Gilman 463). Extremely unhappy in her current situation (a suffering woman who nobody believes is truly ill), she escapes through her writing. Having to keep her passion of writing a secret and hiding it from her husband, housekeeper, family and friends, the story has untold endings to her thoughts due to the abrupt arrival of unexpected guests. The diary helps us to see the quick, spiraling downfall and eventual breakdown of an unstable woman whose isolation from society may have encouraged her imminent disease. Through quickly written journal entries, the audience can see the unfolding of the unstable woman. This enlarges the view of the narrative because it helps show a plot line of the progression of an illness (which is the theme as a whole of the
The central characters in both “The Yellow Wallpaper” and A Doll’s House are fully aware of their niche in society. In “The Yellow Wallpaper”, the narrator’s husband believes her illness to be a slight depression, and although she states "personally, I disagree with their ideas,” she knows she must acquiesce their requests anyway (Gilman 1). She says, “What is one to do?” (Gilman 1) The narrator continues to follow her husband’s ideals, although she knows them to be incorrect. She feels trapped in her relationship with her husband, as she has no free will and must stay in the nursery all day. She projects these feelings of entrapment onto the yellow wallpaper. She sees a complex and frustrating pattern, and hidden in the pattern are herself and othe...
Shirley Jackson’s stories often had a woman as the central character who was in search of a more important life other than the conventional wife and mother. These characters however were often chastised for their refusal to conform to a woman’s traditional way of life. Much like her characters, throughout Shirley Jackson’s life, she also rejected the idea of fitting into society's perception of a woman's role.
Toni Morrison's novel, Beloved, reveals the effects of human emotion and its power to cast an individual into a struggle against him or herself. In the beginning of the novel, the reader sees the main character, Sethe, as a woman who is resigned to her desolate life and isolates herself from all those around her. Yet, she was once a woman full of feeling: she had loved her husband Halle, loved her four young children, and loved the days of the Clearing. And thus, Sethe was jaded when she began her life at 124 Bluestone Road-- she had loved too much. After failing to 'save' her children from the schoolteacher, Sethe suffered forever with guilt and regret. Guilt for having killed her "crawling already?" baby daughter, and then regret for not having succeeded in her task. It later becomes apparent that Sethe's tragic past, her chokecherry tree, was the reason why she lived a life of isolation. Beloved, who shares with Seths that one fatal moment, reacts to it in a completely different way; because of her obsessive and vengeful love, she haunts Sethe's house and fights the forces of death, only to come back in an attempt to take her mother's life. Through her usage of symbolism, Morrison exposes the internal conflicts that encumber her characters. By contrasting those individuals, she shows tragedy in the human condition. Both Sethe and Beloved suffer the devastating emotional effects of that one fateful event: while the guilty mother who lived refuses to passionately love again, the daughter who was betrayed fights heaven and hell- in the name of love- just to live again.
...left on what was once one of the most selected street. The house was alone on that street. Emily’s father had died and she was alone and didn’t know what to do. She found Homer Barron, but he claims he liked men and wasn’t a marrying type. She killed him because she didn’t want him to ever leave. She had nothing to fall back on. She eventually grows sick and dies. She died alone. The house and her were alone with nothing in the world to fall back on.
After a decade of not seeing his mother and brother, Howard returns to his hometown in Mississippi. It is evident how thrilled he is. As the train approaches town, he begins “to feel curious little movements of the heart, like a lover as he nears his sweetheart” (par. 3). He expects this visit to be a marvelous and welcoming homecoming. His career and travel have kept his schedule extremely full, causing him to previously postpone this trip to visit his family. Although he does not immediately recognize his behavior in the past ten years as neglectful, there are many factors that make him aware of it. For instance, Mrs. McLane, Howard’s mother, has aged tremendously since he last saw her. She has “grown unable to write” (par. 72). Her declining health condition is an indicator of Howard’s inattentiveness to his family; he has not been present to see her become ill. His neglect strikes him harder when he sees “a gray –haired woman” that showed “sorrow, resignation, and a sort of dumb despair in her attitude” (par. 91). Clearly, she is growing old, and Howard feels guilty for not attending her needs for such a long time period: “his throat [aches] with remorse and pity” (par. 439). He has been too occupied with his “excited and pleasurable life” that he has “neglected her” (par. 92). Another indication of Howard’s neglect is the fact that his family no longer owns the farm and house where he grew up. They now reside in a poorly conditioned home:
The coldness felt in the house as the sheriff and court attorney entered the house symbolized the same coldness brought about by Mr. Wright. For the house to be cold and gloomy and everything else outside the total opposite, was much more than just coincidence. It was as if when you entered the house a cadaver, cold and clammy, had embraced you in its arms. “ I don’t think a place’d be any cheerfuller for John Wright’s being in it”, Mrs. Hale told the court attorney (11). Mrs. Hale knew perfectly well what kind of personality Mr. Wright had, which is why she specified that she wished that she had gone to visit Mrs. Wright when only she was there. “There’s a great deal of work to be done on a farm”, says Mrs. Hale, yet they are seen as mere trifles because it is the women who take on these tasks.
I think that the narrator feels much alone in life, even though she has a family who cares for her. She is clinically depressed so naturally she is going to feel isolated from the world. Speaking about a house that the narrator grew up in, she writes, 'and there was one chair that always seemed like a strong friend.
The perfect, suburban family has become a prominant theme and stereotype in American culture. Families from the works of Anne Tyler represent the exact opposite of this cultural stereotype. None of Tyler's novels contain families with faithful, domestic wives, breadwinning husbands, and 2.3 well-behaved, perfect children. Tyler kills this misconcieved stereotype in Breathing Lessons, Dinner at the Homesick Restaurant, and The Accidental Tourist. Anne Tyler grew up with her parents on a series of experimental communes, so she developed a different perception of family life. She observes domestic life from the view of an outsider looking in. Minor-- and sometimes major-- flaws characterize the average family in Tyler's novels because many of today's families are imperfect. Because of her communal upbringing, she observes family life more honestly than do writers who romanticize family life. Tyler's novels show that the picture most people see when they think of the typical American family is shifting from the Cleavers to the Simpsons.
The story unfolds in a rickety colonial mansion described by the narrator plainly as “a haunted house” (Gilman 1) with barred windows and rings bolted to the walls (Gilman 2). These features along with the “horrid” (Gilman 6) yellow wallpaper entrap the narrator and swaddle her in her own madness. As the “woman” (Gilman 6) in the wallpaper takes hold of the narrator’s psyche she grows sinisterly corporal, depicted through the unintelligible sporadic entries. The purpose of the narrator’s journal warps from entries assuring herself of the pettiness of her sickness to entries that confirm and act as horrendous safe haven’s for her unhinged mental condition. Entries like “I see her in that long shaded lane, creeping up and down. I see her in hose dark grape 'arbors, creeping all around the garden” (Gilman 8) juxtapose nonchalant writing style with dark subject matter in a way that creates a disturbing tone that must be uncomfortably ingested by