Polar Breath Commentary
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 passage begins with the author establishing the mood with the use of the word “chatter”. It’s quite a positive word, which creates a light, happy atmosphere at the outset of the excerpt. The emphasis placed on “more” snow later on in the sentence lends to the interpretation that this passage takes place in the winter, with an abundance of snow and cold temperatures. We are then introduced to the 1st person perspective of the protagonist; the use of the word “maybe” indicates that it is a supposition, which is a contrast to the narrator’s descriptive tone. The rhetorical questions that follow this speculation give the reader an insight into the protagonist’s mind. She questions the birds’ ability to keep warm in the harsh cold, which illustrates her growing association between the cold and her husband’s death, a technique Glancy uses throughout the passage. Furthermore, the leap between the “little hearts” question and the “shovels” one is decidedly arbitrary, giving the first impressions of the protagonist’s unhinged mind.
The next paragraph serves as a contrast to the mood set by the previous one. The author describes the neighbor pouring, “sheep manure” over his garden; manure is typically used as a fertilizer to enhance and nurture. These actions are the opposite of what the protagonist is doing with her life, a sign of this being the fa...
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... as she compares the ice hole of memories burping like her husband, and the frigid water “closing” her up. This parallel drawn between the image of the ice hole and the protagonist being consumed by her memories constitutes the climax of the extract, as the woman can no longer escape the turmoil of her own crazed mind. She is finally forced to acknowledge her anxiety and the memories she holds on to, which ultimately proves too much for her as the frigid water “closes her up”, and she loses consciousness.
In conclusion, the protagonist’s struggle against her depression mixed with her attempts at reconciliation with her loss is what propels her further into her madness, but also, further into the human condition. Through various forms of imagery, as well as rhetorical questions, Glancy shows a deterioration so foreign to most of us, it becomes eerily familiar.
Gluckel’s memoir are arranged to describe her life in seven books. The first four books describe her mourning of her fir...
As he slouches in bed, a description of the bare trees and an old woman gathering coal are given to convey to the reader an idea of the times and the author's situation. "All groves are bare," and "unmarried women (are) sorting slate from arthracite." This image operates to tell the reader that it is a time of poverty, or a "yellow-bearded winter of depression." No one in the town has much to live for during this time. "Cold trees" along with deadness, through the image of "graves," help illustrate the author's impression of winter. Wright seems to be hibernating from this hard time of winter, "dreaming of green butterflies searching for diamonds in coal seams." This conveys a more colorful and happy image showing what he wishes was happening; however he knows that diamonds are not in coal seams and is brought back to the reality of winter. He talks of "hills of fresh graves" while dreaming, relating back to the reality of what is "beyond the streaked trees of (his) window," a dreary, povern-strucken, and cold winter.
In Heinrich Von Kleist's The Marquise of O. and Charlotte Perkins Gilman's The Yellow Wallpaper, the female protagonist is terribly mislabeled. The inaccuracies in treatment, administered by seemingly authoritative and knowledgeable characters -- family members and a medically certified spouse, respectively -- result in tragic deterioration of the state of mind of both the Marquise and The Yellow Wallpaper's narrator. The delineation of each character's weakness is comprised of blatant references to an applied infantile image and approaching unstable mentality. In The Marquise of O, the Marquise is thrust unwillingly into the external world; in The Yellow Wallpaper, the narrator is locked away unwillingly in an interior world. Though both are persecuted because of their gender, in The Marquise of O, the Marquise is troubled by the symbolic rebirth of her womanhood; while in The Yellow Wallpaper, the narrator is troubled by the symbolic death of her womanhood.
The narrator, a new mother, is revoked of her freedom to live a free life and denied the fact that she is “sick”, perhaps with postpartum depression, by her husband, a physician, who believes whatever sorrows she is feeling now will pass over soon. The problematic part of this narrative is that this woman is not only kept isolated in a room she wishes to have nothing to do with, but her creative expression is revoked by her husband as we can see when she writes: “there comes John, and I must put this away, - he hates to have me write a word (Gilman,
There are more clues and subtle hints that reinforce these statements, most correlating to her mental illness and self-perception. The statements made through the use of said symbolism turns this story into an interesting viewpoint of a psychological breakdown.
The source material used for “never quite sane in the night.” was the 1872 gothic novella “Carmilla”, a first person narrative from the perspective of Laura, the target and victim of a vampire. Taking inspiration from the semi-monologue style in which it was written, I created an episodic account of specific significant and reflective moments from throughout the lifetime of Carmilla, the novella’s love interest and antagonist.
There is no one to listen to her or care for her ‘personal’ opinions. Her husband cares for her, in a doctor’s fashion, but her doesn’t listen to her (Rao, 39). Dealing with a mentally ill patient can be difficult, however, it’s extremely inappropriate for her husband to be her doctor when he has a much larger job to fulfill. He solely treats his wife as a patient telling her only what could benefit her mental sickness rather than providing her with the companionship and support she desperately needs. If her husband would have communicated with her on a personal level, her insanity episode could have been prevented. Instead of telling her everything she needed he should’ve been there to listen and hear her out. Instead she had to seek an alternate audience, being her journal in which he then forbids her to do. All of this leads to the woman having nobody to speak or express emotion to. All of her deep and insane thoughts now fluttered through her head like bats in the Crystal Cave.
Susan starts her first person account with stating her educational background and job at the time. She had been teaching at a high school and decided that she wanted to return to school as a graduate student and assistant at a West Coast college. She describes how she enjoyed this life and was very happy, until later that year she would experience the onset of delusions. Susan is very descriptive in her account of her delusions. They started off as nightmares for her, each getting more and more gruesomely violent until she had awoken from her sleep thinking that her unconscious had been influenced by some sort of evil dictator. She describes the nightmares in very bloody and morbid detail, explaining how she had interpreted this as a sign that this evil dictator was attempting to convert her into a serial killer. She felt that there was a g...
The story begins when she and her husband have just moved into a colonial mansion to relieve her chronic nervousness. An ailment her husband has conveniently diagnosed. The husband is a physician and in the beginning of her writing she has nothing but good things to say about him, which is very obedient of her. She speaks of her husband as if he is a father figure and nothing like an equal, which is so important in a relationship. She writes, "He is very careful and loving, and hardly lets me stir without special direction." It is in this manner that she first delicately speaks of his total control over her without meaning to and how she has no choices whatsoever. This control is perhaps so imbedded in our main character that it is even seen in her secret writing; "John says the very worst thing I can do is to think about my condition...so I will let it alone and talk about the house." Her husband suggests enormous amounts of bed rest and no human interaction at all. He chooses a "prison-like" room for them to reside in that he anticipates will calm our main character even more into a comma like life but instead awakens her and slowly but surely opens her eyes to a woman tearing the walls down to freedom.
Signs of the depth of the narrator's mental illness are presented early in the story. The woman starts innocently enough with studying the patterns of the paper but soon starts to see grotesque images in it, "There is a recurrent spot where the pattern lolls like a...
Her family life is depicted with contradictions of order and chaos, love and animosity, conventionality and avant-garde. Although the underlying story of her father’s dark secret was troubling, it lends itself to a better understanding of the family dynamics and what was normal for her family. The author doesn’t seem to suggest that her father’s behavior was acceptable or even tolerable. However, the ending of this excerpt leaves the reader with an undeniable sense that the author felt a connection to her father even if it wasn’t one that was desirable. This is best understood with her reaction to his suicide when she states, “But his absence resonated retroactively, echoing back through all the time I knew him. Maybe it was the converse of the way amputees feel pain in a missing limb.” (pg. 399)
The creation of a stressful psychological state of mind is prevalent in the story “The Yellow Wall-Paper” by Charlotte Perkins Gilman, as well as, Edgar Allen Poe’s “The Tell-Tale Heart”, Ophelia’s struggles in William Shakespeare’s “Hamlet”, and the self-inflicted sickness seen in William Blake’s “Mad Song”. All the characters, in these stories and poems, are subjected to external forces that plant the seed of irrationality into their minds; thus, creating an adverse intellectual reaction, that from an outsider’s point of view, could be misconstrued as being in an altered state due to the introduction of a drug, prescribed or otherwise, furthering the percep...
One of the main causes for her insanity is the treatment she is receiving by her husband. Right when the story begins the narrator moves into a home with her husband and new born child to stay for a few
Once her husband, John, realizes the deepness of depression that his wife is in due to her birth of their child he decides to take action. He decides to isolate his wife from the world for her own betterment. Once arriving in her newfound place of isolation where there is no stimulation, except for her journal, the narrator is placed within a room that is lined with yellow wallpaper. This yellow room is meant to free her from any stresses, but her dislike for the wallpaper concerns her. The pattern of yellow begins to become more of an obsession, being this is her only stimulation due to her confinement. She begins to visualize a woman behind her yellow wallpaper, this woman she sees seems to be trapped pacing behind the paper as if she is trying to free herself. It is not long before the narrator begins with withdrawal pieces of this wallpaper from the wall in attempt to free this trapped woman. As the novel ends the woman who once was in such disgusted with this yellow room now traps herself, locking herself away from
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...