Compare And Contrast The Yellow Wallpaper And The Story Of An Hour

(P 2 : The Awakening) Chopin foils their marriage in that of the Ratignolles who, "...understood each other perfectly." She makes the classic mistake of comparing one's insides with others' outsides when she thinks, "If ever the fusion of two human begins into one has been accomplished on this sphere it was surely in their union." (P 56 : The Awakening) This sets the stage for her unhappiness, providing a point of contrast for her despondent marriage to Mr. Pontellier. She blames their marriage for their unhappiness declaring that, "...a wedding is one of the ... ... middle of paper ... ...ate UP, 1969. 881-1000.

These literary devices allow the authors to create works that deliver more than one meaning or message while only stating one thing. The short story author or poet also successfully creates a complete story or poem in minimal words with the use of irony. Ironic scenarios or statements add shock to the writing and can significantly strengthen the emotional power of the story. Both the writers of the short story and the poem often use similar literary devices to achieve their goals. The use of the first person narrator is frequently seen in both short stories and poetry.

On first arriving at the vacation home John chooses the old attic nursery against his wife's wishes and laughs at her when she complains about the wallpaper (Kennedy et al. 424,425). In Charlotte Bronte's novel }{plain ul J... ... middle of paper ... ... treatments of  Dr.  S.  Weir Mitchell, but contains much more than one expects. The short story not only studies the complications within a marital relationship, it examines a woman's struggle with mental illness and the hardships of inequality between the sexes. The setting plays an important role to strengthen the themes and also makes the reader question the innocence and simplicity of what is related to him.

When Lily decides to keep her morals intact and not smash George’s wife Bertha back by exposing Bertha’s escapades with the man Lily fancies, the readers know she is doomed to unhappiness. More than Darwinism, Wharton’s writing correlates with Lamarkism, which is quite interesting in itself. Wharton justifies Lily’s death, because in her final moments of life Lily recognizes that she has never had "any real relation to life" (248). In Lily's epiphany, Wharton exposes Lily's separation from the superior life of the city that she once desired and the hand she is dealt. Through Lily, Wharton criticizes the traditional paths of this society and the disillusion of happiness and the inevitable fall and destruction of Lily’s society.

His insufficiency is more surprising because elsewhere in the play Iago appears as a master rhetorician, but as Bloch explains, ‘the misogynistic writer uses rhetoric as a means of renouncing it, and, by extension, woman.’ (163) Even the noble general yielded to the sexist remarks and insinuations of his ancient, thus developing a reprehensible attitude toward his lovely and faithful wife. Angela Pitt in “Women in Shakespeare’s Tragedies” comments on the Moor’s sexist treatment of Desdemona: Desdemona has, therefore, some quite serious faults as a wife, including a will of her own, which was evident even before she was married. This does not mean that she merits the terrible accusations flung at her by Othello, nor does she in any way deserve her death, but she is partly responsible for the tragic action of the play. Othello’s behavior and mounting jealousy are made more comprehensible if we remember what Elizabethan husbands might expect of their wives. (45) In the opening scene, while Iago is expressing his hatred for the general Othello for his selection... ... middle of paper ... ...reason to the same extent, or even greater than, men; and that men are passion-driven moreso than are women.

Women could not defend their own opinions or beliefs by opposing their males regardless of the relationship they shared. The narrator realizes this from the very beginning of the story. She even says, in the beginning, “John laughs at me, of course, but one expects that in marriage” (pg.315). This definitely shows that she understands her submissive position in life and that, in general, men viewed women as senseless people. During this time as typical as John was, Gilman shows the effect that of the gender roles play on the narrator’s psyche.

The Baron’s intention was always to be sexually gratified, even in a metaphoric sense. Despite the women’s victory, Belinda’s lock is lost and cannot be restored—like a lost virtue. Men and women struggle to gain power over each other in the 18th century and today. Pope uses a trivial situation to expose the flaws of both sexes in the struggle for power, such as vengeance, hubris, and vanity. Pope does trivialize the matter, but the reader does understand the social implications for Belinda and women in general.

And, the only way to illustrate reality to the public is to reduce women to most simple yet repulsive bodily functions that equalize both men and women. As society places more prominence on idealized love, Swift criticizes these false idealizations and exposes the truth to the public through his poetic satire. According to Swift, eighteenth century love is more of an infatuation with women and beauty as both tend to obsess over first impressions of appearances. As proved by Strephon invading Celia’s room, Jonathan Swift only further emphasizes that love is not solely based upon physical appearances because even looks, most especially, can be deceiving.

Trapped by the paper as though Jane is trapped by the room, and both unable to do as they please. When she tears off that wallpaper, she is free from not only the pain she has experienced in the mansion, she is also free from her marriage and her controlling husband. When she states she is liberated “in spite of you and Jane” she means that it was her husband, John, and her husband’s sister, Jennie, who have kept her encaged in the bedroom with the yellow wallpaper. Gilman believed that the ending to her novel was able to help free women with mental illness in the twentieth century.

“Roman Fever” and “Hills Like White Elephants” are two different stories that are both very ambiguous in their own ways. Each has a revelation at the end that ultimately paints the grander picture. Even though, Wharton and Hemingway used two very different styles of writing, one full of small subtle details that all fit together as a big puzzle and the other full of simplicity and straightforwardness, both did create dynamic and mysterious characters that, mixed in with the subtle hints and suggestion of their narrators, ultimately helped the readers see and actually comprehend the revelations of each story.