Sympathy For Characters in O. Henry's Furnished Room and Chekov's Vanka
Two Works Cited The narrators in both O. Henry's "The Furnished Room" and Anton Chekov's "Vanka" view their protagonists as desperate and helpless in a world of cold realism. With tones rich in sympathy, the narrators in both stories take pity on their characters. Both characters have yet to understand that realistically they have little control of the dismal life they lead; instead, their surroundings have more of an impact on their life. Trapped in a harshly ironic and deceitful world, the characters become pitiable symbols in a world numb to their presence.
Transforming the protagonists into symbols that touch on everyday human norms (such as unending faith and one's lodgings), the narrators promote a sense of empathy. While the young man in "The Furnished Room" represents the personified room in which he lodges, Vanka resembles a sad angel in his purity and innocence. For instance, like the worn-down room in which the young man stays, his well-being depends on people and events that pass him by. The room's personified descriptions reflect all of the young man's emotions: the young man is emotionally "chipped and bruised," (41) and "desolat" (41) like the constantly abandoned room. Also, like the room the protagonist remains anonymous, as if he means little compared to his surroundings and his lost love (all of which are given names). Vanka, though also enduring a rough life, instead possesses a beam of hope in his innocence. Kneeling before his faithful letter to his Grandfather (as if to pray), Vanka resembles a sad angel. Inspite of his constant neglect and abuse, Vanka holds steadily to his faith and wishes his Grandfather "all the blessings...
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...ness of mankind. The idea of diminshing hope for both characters is the narrator's final sympathy-balming attempt.
The manner in which the narrators present human nature--the dark side of a merciless world in which the characters live--as well as the naive and pathetic nature of both characters, render two stories thirsty for empathy. The naivity that both characters have towards the deceit in their surroundings, as well as their lack of control in events which they endure, cause both characters to be helpless in a cruel world.
Works Cited
Chekov, Anton. "Vanka." Understanding Fiction. 3rd ed. Eds. Cleanth Brooks and Robert Penn Warren.
Englewood Cliff, NJ: Prentice-Hall, 1979. 46-49.
Henry, O. "The Furnished Room." Understanding Fiction. 3rd Edition. Eds. Cleanth Brooks and Robert Penn
Warren. Englewood Cliffs, NJ: Prentice-Hall, 1979. 39-43.
...bsequently Anne Zahalka successfully explores her interest in expressing the psychological space of the hotel room through the emotional states of the guests, achieved through her carefully constructed compositions and devices which create and emphasise the emotion evident.
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Opponents argue that, prostitution has health effects and that is the reason as to why it remains illegal in most parts of the United States. Prostitution has social economic, physical, and a number of mental implications. The prostitutes and their clients are subject to a nu...
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Human nature is a conglomerate perception which is the dominant liable expressed in the short story of “A Tell-Tale Heart”. Directly related, Edgar Allan Poe displays the ramifications of guilt and how it can consume oneself, as well as disclosing the nature of human defense mechanisms, all the while continuing on with displaying the labyrinth of passion and fears of humans which make a blind appearance throughout the story. A guilty conscience of one’s self is a pertinent facet of human nature that Edgar Allan Poe continually stresses throughout the story. The emotion that causes a person to choose right from wrong, good over bad is guilt, which consequently is one of the most ethically moral and methodically powerful emotion known to human nature. Throughout the story, Edgar Allan Poe displays the narrator to be rather complacent and pompous, however, the narrator establishes what one could define as apprehension and remorse after committing murder of an innocent man. It is to believe that the narrator will never confess but as his heightened senses blur the lines between real and ...
Greed, the most interpreted characteristic of the Pardoner began to be weaved in to the story beginning in his prologue through to the text after his story. The Pardoner discloses another trait that is displayed by himself and the characters in his tale concluded to be hypocrisy. The reader was able to divulge in another characteristic of the Pardoner including arrogance. The Pardoner himself was the ideal representation of the characters Chaucer wrote
Chekov, Anton. "Vanka." Understanding Fiction. 3rd ed. Eds. Clanth Brooks and Robert Penn Warren. Englewood Cliffs, NJ: Prentice Hill, 1979. 46-49
The struggles both characters face demonstrate character development and contribute to the themes of the stories. Both short stories prove to be literally effective in that they disclose the main themes at the outset of each story. Although the themes may alter over the course of the stories, they are clearly defined in their respective introductions.