Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
After twenty years of literary analysis
After twenty years of literary analysis
Literary analysis ftee
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: After twenty years of literary analysis
In Arthur Schnitzler’s Fräulein Else, the story is told through Else’s point of view. Not only does Schnitzler allow the readers to see how the characters interact with one another through dialogue, he also incorporates Else’s thoughts and reactions to everything she experiences. Through the use of the stream of consciousness and describing her escapes to fantasy, Schnitzler is able to vividly convey to the reader the internal turmoil and conflicting emotions that throw Else into a void of hysteria.
Else first receives a telegram from her mother informing her that her father needs money in order to escape jail and embarrassment after being found out of embezzlement. Because there were no family members to turn to, Else is asked to approach Herr von Dorsday, a wealthy family acquaintance, to ask him to lend money. However, with the telegram comes with the suggestion of selling her innocence. “Oh Heavens, won’t he give me the money? I mustn’t look so frightened. Everything is at stake. I must say something intelligent and convincing” (43). This quote illustrates Else’s compliance to her mother’s message in addition to her reluctance to go through with her actions. In addition, Else contemplates, “How would you like it, Father if I sold myself by auction this evening?” (23-24). Here her inner conflict of personal needs versus family needs is emphasized in the sense that Else does not want to sacrifice herself for her father. Had Schnitzler not allowed us to read into Else’s stream of conscious, we wouldn’t have identified the source of her hysteric thoughts. Because she has something holding her back from behaving the way she wishes to, Else is forced into a situation where she gains no benefit as an individual.
As Else comes into i...
... middle of paper ...
...ler perfectly portrays a mental breakdown of thought and reason in addition to a wide range of emotion.
Schnitzler’s stream of consciousness style of writing is extremely effective in conveying the onslaughts of hysteric thoughts. Not only does it help that he intertwines Else’s thoughts with the dialogue she partakes in, but he also contrasts her thoughts with each word or action she says or performs. This technique allows the readers to see the different internal conflicts she feels and how her thoughts fall deeper and deeper into hysteria the more she forces herself to comply with her family’s matters. Overall, Fräulein Else is an impressive, vivid depiction of the loss of innocence and confusion present in an inexperienced, young maiden Schnitzler presents through his writing.
Works Cited
Schnitzler, Arthur. Fräulein Else. London: Pushkin Press, 2012. Print.
In the short story “Eleven,” through the continuing use of first person, readers become emotionally attached and acquire a firsthand experience during Rachel, the main character’s, plight and not simply a perspective of the story from another character’s point of view. Since Cisneros incorporates first person repeatedly throughout the story with no change in point of view, the reader is able to grasp Rachel’s true thoughts and feelings. “…I'm crying in front of everybody. I wish I was invisible but I'm not. I'm eleven and it's my birthday today and I'm crying like I'm three in front of everybody. I put my head down on the desk and bury my face in my stupid clown-sweater arms” (Cisneros 37). Point of view considerably impacts the reader’s
Throughout The Lovely Bones and Speak Alice Sebold and Jessica Sharzer respectively express the emotional journeys and boundaries faced by their characters. Both authors explore this idea through the restriction of their protagonist; however, they both express their journeys with the help of a secondary character. Different approaches are used by the authors, Sebold tells the story from the past whereas Sharzer provides a day-by-day diary of the emotional journey faced by Melinda. Both use the conclusion of their texts to heighten their characters emotional journeys. Sharzer’s ending provides a sense of relief and triumph, and Sebold creates a sense of happiness and acceptance. Aided by devices, notably symbolism, metaphors, narrative technique, stream of consciousness, editing techniques and imagery, Sebold and Sharzer endeavour to demonstrate the emotional journeys faced by their characters.
The narrator’s inner conflict can be seen when she says, “ I had indeed lost my mind, for all the smoldering emotions of that summer swelled in me and burst—the great need for my mother who was never there, the hopelessness of our poverty and degradation, the bewilderment of being neither child nor woman and yet both at once, the fear unleashed by my father’s tears. (9) Through this quote, we can see how Lizbeth struggled greatly with what has happened in her life and all the things she had to go through. The unfortunate, sad resolution to this conflict further develops the theme that growing up can be hard and things will happen that you may not like or have control of what happens. When Lizbeth says, “ ‘M-miss Lottie!’ I scrambled to my feet and just stood there and stared at her, and that was the moment when childhood faded and womanhood began. (10) This resolution shows that we can allow guilt and shame to show us that their are not always a happy ending in every story. Therefore, the plot elements of conflict and resolution further develop the
In the short story, “The Yellow Wallpaper,” Charlotte Perkins Gilman writes about her confusing, yet interesting life in isolation, and how she digresses throughout the three months. The narrator is astonished to the fullest extent by many eye-catching objects and hidden details found within the room. Her thoughts about the room are very contradictory and she is thoroughly indecisive in her feelings for this room. Throughout the story, the narrator mentally deteriorates as shown through her tendency to shift from hating the room to obsessing over the room; the author uses strong figurative language and contradictory connotations to reveal the narrator’s thoughts and emotions to the reader.
Within the thin exterior of the cold dark building she called home, she wanted to keep the bodies of those in which she felt she had a connection. Whether it be a reasonable connection or not, she didn’t want to be alone. Her connection with her father brought her to keeping his corps in the house as well as the other man. Her distance from other people around her only drove her to madness causing nothing but isolation and a craving for any type of relation she could hold or be close
Both the protagonists, Jane and Mrs De Winter in Rebecca are characterised as naïve females who have encountered traumatic and demoralising events in their early years. Through the subsequence events of the plot, these females undertake a bildungsroman journey to adjust to high class society. The heroine in Rebecca has been constantly haunted by the ghost and ‘femme fatale’ figure of Maximillian’s deceased wife (Rebecca) and is unable to live up to society’s expectations. In contrast, Jane can appear to be left demoralised by her extended family, her Aunt and cousins, where she was abused, from a very young age, for standing up for herself. However, her punishment can be seen as a blessing because the time spent in the ‘red-room’ was the
Center stage in Kaye Gibbons’ inspiring bildungsroman, Ellen Foster, is the spunky heroine Ellen Foster. At the start of the novel, Ellen is a fiery nine-year old girl. Her whole life, especially the three years depicted in Ellen Foster, Ellen is exposed to death, neglect, hunger and emotional and physical abuse. Despite the atrocities surrounding her, Ellen asks for nothing more than to find a “new mama” to love her. She avoids facing the harsh reality of strangers and her own family’s cruelty towards her by using different forms of escapism. Thrice Ellen is exposed to death (Gibbons 27). Each time, Ellen has a conversation with a magician to cope with the trauma (Gibbons 22-145). Many times Ellen’s actions and words cause it to be difficult to tell that she is still a child. However, in order to distract herself, Ellen will play meaningful games (Gibbons 26). These games become a fulcrum for Ellen’s inner child to express itself. Frequently, Ellen will lapse into a daydream (Gibbons 67). Usually, these daydreams are meant to protect herself from the harsh reality around her. Ellen Foster’s unique use of escapism resounds as the theme of Kaye Gibbon’s Ellen Foster.
The authors use of conflict conveys Lizabeths emotional maturation from girl to women. Lizabeth has numerous internal conflicts over the course ranging from Lizabeth taunting Ms. Lottie to hearing the true extent of her family’s troubles.
Trudi Montag was growing up during the World Wars in Burgdorf, Germany. She lived with her father, Leo, and helped him run their pay library. When she was young her mother, Gertrude, went insane, and died at the asylum. Trudi could remember how her mother used to run away, and after her father carried her home, he would lock her up in the attic, to try to prevent her from escaping again. She always did escape, and Trudi usually found her outside, hiding under the stairs. Trudi would spend time with her mother in the attic, or under the stairs. In the attic, the two would play with the paper dolls Leo gave his wife, and Gertrude would teach Trudi how to escape from the attic. Under the stairs, Gertrude told Trudi of her affair with her husband’s friend, Emil, and how she fell off his motorcycle one day, and skinned her knee. Her knee healed, but the stones could be felt beneath her skin if she let someone try to feel for them. That very same day Leo got shot in the knee in the First World War, and had to come home, and would forever walk with a limp. Gertrude blamed herself for her husband’s injury, just as Trudi blamed herself for her mother’s death.
Imprisoned in the “cardboard world” for a long time, Antoinette feels so lonely. “Long ago when I was a child and very lonely I tried to kiss her”(Rhys 180). She thinks of her childhood, and she does not remember many things. Undoubtedly, she becomes more abnormal. “One morning when I woke I ached all over. Not the cold, another sort of ache. I saw that my wrists were red and swollen”(181). Something bad has happened to the poor woman. “Grace said, ‘I suppose you’re going to tell me that you don’t remember anything about last night’”(181). Grace’s words imply that Antoinette often forget about something. A submissive wife is changed by her husband’s indifference-- she endures loneliness, coldness and despair.
She continues in this sequel to talk about the abuse she faced and the dysfunction that surrounded her life as a child and as a teen, and the ‘empty space’ in which she lived in as a result. She talks about the multiple personalities she was exhibiting, the rebellious “Willie” and the kind “Carol”; as well as hearing noises and her sensory problems. In this book, the author puts more emphasis on the “consciousness” and “awareness” and how important that was for her therapeutic process. She could not just be on “auto-pilot” and act normal; the road to recovery was filled with self-awareness and the need to process all the pieces of the puzzle—often with the guidance and assistance of her therapist. She had a need to analyze the abstract concept of emotions as well as feelings and thoughts. Connecting with others who go through what she did was also integral to her
In this passage Diane Glancy portrays a woman’s descent into insanity following her husband’s death. The passage is written in 3rd person limited omniscient, but with glimpses of 1st person perspective from the protagonist. Using frequent references to the cold and confusing and unusual sentence structure, the author depicts the protagonist’s delirious reality.
The story opens not with an image but with a sound ? that of the grandmother talking, incessantly and determinedly, as she does throughout the tale. Thus, in these opening sentences, we are already being prepared for The Misfit?s remarks at the story?s end, when he characterizes her as ?a talker.?
In the story “Two Kinds”, the author, Amy Tan, intends to make reader think of the meaning behind the story. She doesn’t speak out as an analyzer to illustrate what is the real problem between her and her mother. Instead, she uses her own point of view as a narrator to state what she has experienced and what she feels in her mind all along the story. She has not judged what is right or wrong based on her opinion. Instead of giving instruction of how to solve a family issue, the author chooses to write a narrative diary containing her true feeling toward events during her childhood, which offers reader not only a clear account, but insight on how the narrator feels frustrated due to failing her mother’s expectations which leads to a large conflict between the narrator and her mother.
Mrs. Mallard’s repressed married life is a secret that she keeps to herself. She is not open and honest with her sister Josephine who has shown nothing but concern. This is clearly evident in the great care that her sister and husband’s friend Richard show to break the news of her husband’s tragic death as gently as they can. They think that she is so much in love with him that hearing the news of his death would aggravate her poor heart condition and lead to death. Little do they know that she did not love him dearly at all and in fact took the news in a very positive way, opening her arms to welcome a new life without her husband. This can be seen in the fact that when she storms into her room and her focus shifts drastically from that of her husband’s death to nature that is symbolic of new life and possibilities awaiting her. Her senses came to life; they come alive to the beauty in the nature. Her eyes could reach the vastness of the sky; she could smell the delicious breath of rain in the air; and ears became attentive to a song f...