In both ‘Eve Green’ and ‘Wide Sargasso Sea’, the protagonists experience fear in many guises. Although traumatic events in both Eve and Antoinette’s lives do lead to moments of sudden, striking fear, fear is also presented as having the potential to be subtle and muted, and therefore, “haunting”. Fletcher and Rhys seem to suggest that this form of fear is more damaging to the psyche than fear in its more conspicuous manifestations, as it is more deeply intertwined with the characterisations of the protagonists, therefore allowing for the fear to “pervade” the novels. As a result, it could be argued that fear has an almost constant presence in each novel, particularly because fear is seemingly linked to other prominent themes in each novel.
Superstition
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This is shown when Rhys writes that "the sky can have a very black look". The use of colour is significant in Rhys' description of setting in the novel, and the connotations of bleakness and intimidation would add to the sense of a hostile environment. Rhys also writes "the razor-grass cut my legs" when referring to Antoinette's childhood experience of Coulibri. Like in 'Eve Green', the anticipation of physical harm in "razor-grass" would lead to a sense of fear being a constant presence in Antoinette's life.
The sense of fear attributed to the setting in 'Wide Sargasso Sea' may have been influenced by Rhys' own experiences as a creole woman growing up in the Caribbean. Rhys' great-grandfather's house was burned down by members of the local black community in an act of revenge, as he was a slave-owner. This event is often considered to have inspired Rhys to write about the arson of Coulibri. This supports the idea that Rhys was influenced by her own feelings of fear in her own home, which indicates that fear is a vital part of the setting in the
In the excerpt of Night, it states, “Dozens of starving men fought each other to the death for a few crumbs.” (Wiesel 105) This describes fear because to imagine that food is more important than one's’ life is scary to think about. People wanting to kill each other just to eat something is hard to think about. In the poem, “I Never Saw ANother Butterfly” it states “Butterflies don’t live in here, In the ghetto”(Friedman 16-17) This is an example of fear because this quote gives a sense of eeriness to the setting and it describes when he realizes that things will never be the same again. It also symbolizes he won’t just never see another butterfly but his home, family, and life will never be the same ever again. With death being inevitable not only would you be scared you would also be
Another form of fear that is later introduced is the concept of the boys humanity slowly becoming strayed. In the novel there is a great amount of foreshadowing towards this topic. An example coul...
The idea of fear is a fairly simple concept, yet it carries the power to consume and control lives. Fears have stemmed from an inadvertent psychological response to situations deemed threating to one’s personal safety, but have evolved into a complex web of often illogical misconceptions which are able to cloud a person’s judgment and result in situations often worse than originally intended. Fears can be hard to quell, but it has been shown the best way to overcome fears is often to face them, as author James Baldwin asserted when he wrote, “To defend oneself against fear is simply to insure that one will, one day, be conquered by it; fears must be faced.” Baldwin makes strongly qualified statement, and his idea fears must be faced to ensure one is not conquered by them is evident frequently, and is especially visible in Nathaniel Hawthorne’s classic novel, The Scarlet Letter. In The Scarlet Letter, two characters are placed in situations in which they are directly confronted with their fears, but react much differently, resulting in contrastingly different consequences. Baldwin’s assertion is qualified by the journeys of Hester Prynne and the Reverend Dimmesdale in The Scarlet Letter, who show how facing one’s fears can have a positive outcome while defending oneself from their fears can have detrimental consequences.
When writing a story that is meant to scare the reader, authors use a variety of different literary elements to intensify fear. This is apparent in the stories “The Fall of the House of Usher,” “beware: do not read this poem,” and “House Taken Over”. It is shown through transformation in the character, setting, and sometimes even the story or poem itself, adding to the scariness that the reader feels when reading it. While there are some examples of transformation not being scary or not playing a role in stories meant to scare us, transformation plays a crucial role in making the reader of these stories scared.
Fear brings forth a certain atmosphere which compels us to act upon it. The era in which the book was published allows us to see how common these fears were. Shirley Jackson's The Haunting of Hill House is an excellent portrayal of how fear controls the human mind by using the characters as examples. In the book Eleanor, Theodora, Luke, and Dr. Montague have all been influenced by fear in the story, whether it be the fear of love, the unknown, family, rejection, expression, or loneliness. These different types of fear plagued their minds causing their actions to reflect upon them. Jackson explores the theme of fear in The Haunting of Hill House by creating a cast of characters that in turn are manipulated by the inner workings of their minds and the
Stories have an opportunity to leave the reader with many different impressions. When you look a different characters within the stories the ones that leave the greatest impressions are the ones that tend to scare us. The figures in Bob Dylar’s “Where Are You Going, Where Have you been?”, in Nathaniel Hawthorne’s “Young Goodman Brown”, and Stephen King’s “The Man in the Black Suite” all instill a bit of fear in the reader. They are symbols that represent the devil or devil like attributes in people and the uncertainties of human nature.
The paper compares two short stories (Poe’s “the fall of The House of Usher” and Perkins-Gillman’s “the Yellow Wallpaper”), in order to develop arguments about the relationship between characters’ fears and the main theme of each story. In the two short stories, the characters are suffering from various forms of fear under different circumstances. Such fears include fear of fear, fear of death, fear of other people, fear of isolation, fear of punishment, and fear of loss of reputation. Such different forms of fears can assist readers in understanding the motives of the characters.
The author selects techniques of diction such as connotation, repetition, and onomatopoeia, to establish the fear is the overall excerpt. He manipulates connotation to enhance the mood. As the character is driven about the midnight landscape by the mysterious coachman, he notices the “frowning rocks” hanging over the road, a “ghostly flicker” of blue light which he cannot explain and off in the distance the “long agonized wailing” of dogs. The word “frowning” allows us to see that this is no happy setting, even the rock that cannot feel is frowning and not smiling. The author uses the word ghostly to describe the flicker of light. Light usually portrays a saving or some sign of hope. By using ghostly as a descriptive word, he makes it seem supernatural or like it’s faintly there. If he wanted this to be a sign of hope he could have worded it a flickering light, but he did not causing the character to feel fright and no hope. The utilization of repetition by Stoker applies reinforcement to the atmosphere. Throughout the excerpt the narrator continues intensifying the effects by also repeating phrases such as “another and another.” By repeating these words the reader is being reminded of the alien emotions and surroundings of such a strange place. The use of intensifying repetition strengthens the negative connotation words following directly before or afte...
In John Gardner’s Grendel, he uses the literary devices of archetypes, foreshadowing, and imagery to develop the theme of fear.
Sarvan, Charles. ¡§Flight, Entrapment, and Madness in Jean Rhys¡¦ Wide Sargasso Sea.¡¨ The International Fiction Review. Vol 26.1&2:1999:82-96.
While fear plays an essential role in the poem, Olds never mentions the emotion itself, except in the title. Instead, she elicits the sense of fear with the words she uses, such as “suddenly,” and vivid imagery of death, darkness and water: “…like ...
Wide Sargasso Sea is unique from Jane Eyre and Mansfield Park in that the issue of race plays a huge part in how the characters themselves relate to themselves and their place within their society. Its unique nature comes from the way the story is written from the point of view of the characters themselves rather than the author. The writing style within the novel shows how racial stereotypes and prejudices influenced portraying people of color within 19th century writings and attitudes.
In Wide Sargasso Sea, Jean Rhys confronts the possibility of another side to Jane Eyre. The story of Bertha, the first Mrs Rochester, Wide Sargasso Sea is not only a brilliant deconstruction of Brontë's legacy, but is also a damning history of colonialism in the Caribbean.
... and an indication of Antoinette's fate. The most destructive fire in Wide Sargasso Sea comes at the end of the novella, when Antoinette burns Thornfield Hall down to the ground. While this action serves as an escape and an act of defiance, it is also destructive, as Bertha takes her own life in the process of taking power from her husband: "Then I turned around and saw the sky. It was red and all my life was in it... I saw the orchids and the stephanotis and the jasmine and the tree of life in flames" (170). Antoinette's ultimate act of rebellion will, of course, lead to her ultimate destruction--- the life that she sees in the burning sky will be extinguished when she comes crashing to the ground. Rhys' use of fire in moments that show or foreshadow physical and emotional devastation reflects the role of fire as a symbol of destruction in Wide Sargasso Sea.