Post-Modern Victorian:
A. S. Byatt's Possession
If I had read A. S. Byatt's novel Possession without having had British Literature, a lot of the novel's meaning, analogies, and literary mystery would have been lost to me. The entire book seems one big reference back to something we've learned or read this May term. The first few lines of chapter one are poetry attributed to Randolph Henry Ash, which Byatt wrote herself. Already in those few lines I hear echoes of class, lines written in flowery Pre-Raphaelite tradition. "The serpent at its root, the fruit of gold /…At the old world's rim, /In the Hesperidean grove, the fruit /Glowed golden on eternal boughs, and there /The dragon Ladon crisped his jewelled (sic) crest…." Because of class, I was able to pick up on this poetry tradition right away. This story within a story is strengthened by Byatt's ability to write Victorians accurately. Until I read some of the reviews, I thought Byatt's Victorian characters were actual historical literary figures, when actually they are fictitious, and their journals, letters, and poetry are written by Byatt.
The action of the book takes place in two periods. The two main characters, Roland and Maud, are literary scholars living in the 1980's. Their love story is shared and played out by the diaries, poetry, and correspondence of two poets and lovers from the 1860's-Randolph Henry Ash and Christabel LaMotte. Although the book is modern fiction, much of it is a Victorian novel as well. Possession is characteristic of Byatt's love for intertextuality and imbedded texts. Possession is also an example of several literary genres, all written into one book. At various times it gives evidence of poetry, mythology, a romance novel, a detective story, a fairy tale, journals and diaries, and scholarly writings.
There are several themes in Possession that tie this book to earlier texts that we have read. Individual versus group identity, feminism, sexuality and the link between present and past are themes that Byatt deals with in her novel. Interestingly, Byatt expresses many of these themes using symbolic color imagery, a technique that makes her writing reminiscent of Pre-Raphaelite style.
According to Byatt, the "struggle of the individual to discover and then live out her...
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...hanged, and romance from one time to another is not so different as we thought. The characters mix the old and the new; Maud wears a brooch once belonging to Christabel, and another Ash scholar, Mortimer Cropper, carries Ash's pocket watch. In the end of the novel, the last love letter written by Christabel enables Maud to finally enjoy the value of love in the present, and give her trust to Roland. The cyclical time frame of the novel provides an interesting contrast to the normal, stifling, linear time frame of typical literature and everyday life.
The way Byatt expresses many of these themes through her symbolic use of color is significant. Byatt paints with words, making her reminiscent of the Pre-Raphaelites. She gives color descriptions for her characters, painting the women such as LaMotte and Christabel in gold and green description, while persons whose characters are flat and never well-developed, such as Paola the secretary, are described in colorless terms. Paola has "long, colourless hair bound in a rubber band" huge mothlike glasses, and "dusty grey pads" for fingertips. Her lack of color sets her off from the beginning as a very flat character.
Both awe-inspiring and indescribable is life, the defined “state of being” that historians and scholars alike have been trying to put into words ever since written language was first created. And in the words of one such intellectual, Joshua J. Marine, “Challenges are what make life interesting; overcoming them is what makes life meaningful”. Essentially, he is comparing life to a bowl of soup. Without challenges or hardships into which we can put forth effort and show our potential, it becomes a dull and flavorless broth. But for characters in novels like Nathaniel Hawthorne’s
In the excerpt from The Signature of All Things by Elizabeth Gilbert this was shown to us by the Alma, Henry Whitaker's daughter. She observed something that was more thrilling than anything she has ever seen and because she asked to be apart of, she was allowed to be a part of something meaningful to her. An individuals has the power to create a meaningful life if they strive for what they value in life, because if they don’t try as hard as they could they will not be able to live a purposeful life.
Throughout the course of a novel, poem, or any literary piece, writers frequently hide symbols offering insight to the true meaning of their stories. Symbols appear as objects in nature, items in home, central ideas, or specific colors surrounding the main characters. The presence of symbolism in literature directly reflects the feelings or characteristics of the protagonist and any other major characters involved in the plot. When writers utilize color as a symbolic message, the colorful images ignite the reader’s inspiration to better understand the situation and state of mind of the character present in the scene. In the Indian novel Life of Pi, author Yann Martel portrays the ideas of hope, salvation, and life through the color orange. Although Pi’s situation looks grim as he spends 227 days aboard a lifeboat with a tiger, the color orange reenters the prospect of life and gives the reader hope that Pi will survive his strenuous endeavor at sea. In contrast, colors do not always bring positive emotions into a story; Charlotte Perkins Gilman taints her story a fading yellow hue in her short story The Yellow Wallpaper. Her use of the color yellow attributes to the idea of the sickening and deteriorating mind of the protagonist in comparison the the fading and aging yellow wallpaper along the walls of her bedroom. Within the two pieces, each author applies symbolism through color and greatly affects the reader’s perception and feeling towards the stories.
The submission of women is demonstrated in the text through the symbolic colors of the couple’s bedroom. Indeed, as the young woman’s husband is asleep, the wife remains wide-awake, trying her best to provide the man with comfort, while enjoying her newlywed life. As she opens her eyes to contemplate “the blue of the brand-new curtains, instead of the apricot-pink through which the first light of day [filters] into the room where she [has]
Eliza Wharton has sinned. She has also seduced, deceived, loved, and been had. With The Coquette Hannah Webster Foster uses Eliza as an allegory, the archetype of a woman gone wrong. To a twentieth century reader Eliza's fate seems over-dramatized, pathetic, perhaps even silly. She loved a man but circumstance dissuaded their marriage and forced them to establish a guilt-laden, whirlwind of a tryst that destroyed both of their lives. A twentieth century reader may have championed Sanford's divorce, she may have championed the affair, she may have championed Eliza's acceptance of Boyer's proposal. She may have thrown the book angrily at the floor, disgraced by the picture of ineffectual, trapped, female characters.
One of the key components of literature is the usage of elements, these elements of literature provide readers with underlying themes that authors put into their story. Without these elements of literature, the author would have no way to convey their true messages into their works. In Zora Neale Hurston’s story “Sweat”, Hurston uses many elements of literature to convey the seriousness and true relationship of couples that have a history of domestic violence. However, a specific element of literature that Hurston uses are symbols which give readers a clearer understanding of domestic abuse and most importantly, the characteristics of the victim and perpetrator of an abusive relationship. The symbols that Hurston uses in her story are what fortifies her plot and characters in “Sweat”.
During this time period women did not encompass the same rights as their male counterparts, nor where they encouraged to participate in the same activities as they. Gillman describes the yellow wallpaper to the readers as a rationalization of what it means to be a woman during this time period. Women were expected to be child-like and fragile as noted, within the text, “What is it child(Gilman, 1998)?” The color yellow is often associated with sickness; in Gilman’s case her sudden illness refers to oppression. She notes as the story, progresses the wallpaper makes her feel sick. Gilman notes, “I never saw a worse paper in my life,” as a symbol in which refers to the restrictions and norms society places on women. Within her literature she addresses restrictions placed on women. Gilman states, “The color is hideous enough, and unreliable enough, and infuriating enough, but the pattern is torturing.” Meaning, she believed men denying women the right to equality was absurd, and when they did grant women’s freedom it was not equivalent rather a “slap in the face [it knocks] you down and tramples you (Gilman, 1998).” Through her essay she consistently refers to a figure behind the wallpaper. “The faint figure behind seemed to shake the pattern, just as if she wanted to get out (Gilman, 1998).” Meaning, women during this time period seek to feel free from oppression. The women behind the wallpaper represents the need to speak out, “you have to creep on the ground, and everything is green instead of yellow (Gilman,1998).” Creeping placed significance on the experience of being a woman in regards to, how they should think, feel, act, dress, and express themselves. Gilman notes, “And I 've pulled off most of the paper, so you can 't put me back! " The author used this quote to signify, the woman realized she was
Many authors use the themes oppression and victory to define a struggle. This technique allows readers to relate with characters on a personal level. Alice Walker constantly uses this theme in her short story “Everyday Use” with her character Maggie and in her book The Color Purple with her character Celie. Both tales depict these women as underdogs who overcome obstacles to realize her full potential at the end.
In spite of the fact that she composes the verse, clearly, the lyric is a great deal more convoluted than it at first appears. It offers many intriguing bits of knowledge into the part of the female artist, her brain science, and the verifiable setting of the work. Bradstreet composed the lyric in measured rhyming. The lyric communicates Bradstreet 's emotions about her brother by marriage distribution of some of her sonnets in 1650, which she didn 't know about until the volume was discharged. Utilizing the allegory of parenthood, she depicts the book as her youngster. Like a defensive mother, she noticed that the volume was "sick formed" and grabbed far from her before it was prepared for freedom. The "companions" who took it were "less astute than genuine," implying that while their activities were imprudent, these individuals absolutely did not have malignant goals. Since the work has been distributed without giving the artist time to redress any blunders, it is out on the planet while it is back in her grasp. At initially, she depicts the recently bound volume as "maddening in my sight," not able to overlook the blemishes she wished she had the chance to address. She wishes she could show her work in its best form yet that is presently inconceivable - she portrays washing its face yet at the same time observing soil and stamps. Be that as it may, the artist can 't resist the
Restraints are set by parents on their children to aid with the developmental process and help with the maturity level. Restrictions and the ability to control exist in our society and our lives. We encounter restraints daily: job, doors, people, and the most frequently used and arduous become intangible. In the following stories tangible and intangible scenarios are presented. Autonomy, desires, and talents spurned by the husbands in John Steinbeck’s “The Chrysanthemums and Charlotte Gilman’s “The Yellow Wallpaper.” The authors share views regarding a similar theme of male domination and imprisonment. “The Yellow Wallpaper” involves the treatment of a depressed woman who is driven insane in a male imposed detention in her own room. On the other hand, Elisa Allen in the “The Chrysanthemums” struggles internally to find her place in a fully male dominated society with definite gender roles. The mirror-like situations bring upon a different reaction for both the women in different ways. The importance of symbolism, control from their husbands, and the lack of a healthy marriage will be discussed in this paper in two stories.
Some of the main symbols of the novel are The Hanging Wall, the colours of the clothing of the different women and the Eyes. All these symbols add different features to the story which are important. Some add fear, suspense, and overall they all add an important understanding of the story line. Margaret Atwood, was able to successfully create symbols which added depth and helped with the understanding of the novel. With these symbols she used in the novel she proved the importance and the positive effects strong symbolism can have with plot and character
In the 19th century society was from different from what it is today. Women were not in the workforce, could not vote, or even have a say in anything. Women were not permitted to give evidence in court, nor, did they have the right to speak in public before an audience. When a woman married, her husband legally owned all she had (including her earnings, her clothes and jewelry, and her children). If he died, she was entitled to only a third of her husband’s estate. Charlotte Perkins Gilman wanted to change this. She wanted people to understand the plight of women in the 19th century. In her short story The Yellow Wallpaper she tries to convey this to the reader not just on a literal level, but through various symbols in the story. In The Yellow Wallpaper the author uses symbols to show restrictions on women, lack of public interaction, the struggle for equality, and the possibilities of the female sex during the 1800s.
In conclusion Emily Bronte employs the literary devices of repetition and anthesis to make closure for the wild love of Catherine Earnshaw and Heathcliff with the union of Hareton and Cathy’s love.With the characters being so similar the reader can't help to tie these sets of doubles together making Catherine’s and Heathcliff's forbidden love acceptable with the peaceful relationship of Cathy’s and Haretons relationship.
It pinpoints out how women were taken as during the 1900’s. The story also highlights the extremes of repression and sexism by viewing the woman as mad by a rest cure. In the view of the Narrators role as a woman, lack of intellectual stimulation in her thought and unjust environment usually led her insane. This points out failure in the society in which sexism and oppression was carried out towards women. An aspect of feminism portrayed by the Narrator in the story is how she tries to dismiss John’s opinions. She repeatedly requests him to relocate her to another room downstairs. This is an aspect of feminism which should be encouraged among women to demand for their freedom. The Narrator takes part in not conquering with John. But as time goes she is less able to feel the usual relief. John rejects the request and replies to her that she must spend in the nursery room which is barred and rings similar to those of dungeon on the walls. She is denied the right to choose what pleases her. Later she comes to like the nursery room where other times she locks herself up to avoid husband’s disturbance upon the story. Also the act of Narrator’s wallpaper routine is a sense of imprisonment. She recognizes that the pattern is so ugly like a cage imprisoning women who are desperately trying to escape. The Narrator figuratively tears the bars and the wallpaper of the cage to clear her way to escape.
...re many similarities when it comes to technique, characterization, themes, and ideologies based on the author's own beliefs and life experiences. However, we also see that it appears the author herself often struggles with the issue of being herself and expressing her own individuality, or obeying the rules, regulations and mores of a society into which she was born an innocent child, one who by nature of her sex was deemed inferior to men who controlled the definition of the norms. We see this kind of environment as repressive and responsible for abnormal psyches in the plots of many of her works.