The Woman in White
I had now arrived at that partcular point of my walk
where four roads met - the road to Hampstead, along
which I had returned, the road to Fichley, the road
to West End, and the road back to London. I had me-
chanically turned in this latter direction, and was
strolling along the lonely high-road - idly wonder-
ing, I remember, what the Cumberland young ladies
would look like - when, in one moment, every drop of
blood in my body was brought to a stop by the touch
of a hand laid lightly on my shoulder behind me.
I turned on the instant with my fingers tighten-
ing round the handle of my stick.
There, in the middle of the broad, bright high-
road - there, as if it had that moment sprung out of
the earth or dropped from Heaven - stood the figure
of a solitary Woman, dressed from head to foot in
white garments..... (p.47)
An analysis of the above passage will illustrate why The Woman in White and
novels of a similar nature have been labelled `sensational' and denied any
significant status as realism. Most obviously, the extract shows the main
characteristic of sensationalism: the sudden shock or surprise - every drop
of Walter Hartright's blood `brought to a stop' on encountering the figure on
the highway: he grips his stick nervously in anticipation of the unknown. The
aspect of mystery and the ghostly, too, can be seen...
... middle of paper ...
... is weak-willed and sensitive while
Hartright is a combination of the latter two. It would be a mistake to say
that the figures which populate the novel are colourless - they are not - but
they do lack the complexity of, say, a Dorothea Brooke. In addition,
traditional realism demands that the actions of a character and motives
behind them be plausible, be `believable'. Plausibility does seem lacking in
sections of the novel. Walter Hartright's sudden move to Honduras is a prime
example of this. He becomes timid, frail and effete, deciding to go to `another
country to try a change of scene and occupation'. He is merely said to be
making `excavations among the ruined cities of Central America'. There is no
real description about the thought process behind such a decision.
Pyschological realism appears, on a superficial inspection, to be neglected.
For example the connotation ‘red’ is the colour of fire, danger, power, caution and malice. ‘Red’ is an emotionally intense colour and is a consistent theme that builds up like a heated fire because Peter is full of rage and wrath and he is the “red herring” because he is distracting the mum from the truth about the abuse he is causing.
I have very good sight. One moment they were white, the next red, the next blue. Then I got it. They were a woman’s dresses”. At first, I did not pay attention to the colors of the dresses, but then I realized the pattern of colors in order. In this case, I believe white represents light, goodness, and pureness. The red represents anger, blood and possibly murder. The last but not least, the color blue that represents wisdom, loyalty, and truth. It seemed to me that the author used colors symbolizes the story from the beginning to the end. I believe it is a hint for us to what to expect and what not to since Jeffries was right all along the
He moved to switzerland “to promote socialism” where he was expelled from the country(biography.com editors).
The context in which Marc worked suggests he employed these correspondences programmatically, Marc wrote: "Every color must say clearly 'who and what it is, and must, moreover, be related to a clear form."
HOW WAS COLOR USED TO GIVE YOU CLUES TO THE PERSONALITY OF A SPECIFIC CHARACTER(S)?
Expatriate (p. 478): A person who “removes (oneself) from residence in one 's native land” (Free Dictionary).
Through the use of complementary colors, she achieves great contrast. Contrasting hues develop a theme of light vs. dark, or in Liu’s case, expectations vs. reality. Dark colors are used to suggest the harsh, chaotic conditions experienced by the workers; while light, less saturated colors illustrate the calm passivity of traditional Chinese customs and ideas. The sky surrounding the stylized women contrasts greatly with the surroundings of the exhausted men. The dark hues establish heavy visual weight below the figures and the light tones of the sky create a sensation of weightlessness and help to further distinguish the fantasy like qualities. Liu also includes the application of analogous colors, primarily to make the traditional figures less dramatic and to help unify the surrounding
1: to withdraw (oneself) from residence in or allegiance to one's native country 2: intransitive senses: to leave one's native country to live elsewhere; also: to renounce allegiance to one's native country Merriam-Webster Dictionary
Lefevre, Pascal. “Incompatible Visual Ontologies? – The Problematic Adaptation of Drawn Images. In Film and Comic Books, edited by Mark Jancovich, Matthew P McAllister and Ian Gordan, Jackson: University Press of Mississippi, 2007, 1 – 13.
From the beginning, the four characters in the aftermath of a shipwreck do not know "the colour of the sky" but all of them know "the colours of the sea." This opening strongly suggests the symbolic situations in which human beings are located in the universe. The sky personifies the mysterious, inconceivable cause of reality , which humans cannot understand, and the sea symbolizes the earthy, mundane phenomenon, which humans are supposed to perceive. The symbolic picture generated by the above conflict implies the overall relationship between the individual and nature. In fact, the daily life of human beings is at the mercy of the uncontrollable waves of the sea; while, at the same time, the essential part of reality remains unknown to feeble, helpless humans.
One way to throw light on the meaning of a novel or a painting is to view it in
This fact is supposed to show that sensible qualities, such as colors or odors, are not really "in" things. For if things can, say, look one color when they are (supposedly) really another, then we can never say what color they really are, what color really "inheres" in them. For all sensible qualities, as Berkeley put it, "are equally apparent"; he seems to have meant that for every putatively veridical perception there is a possible corresponding illusory one (or wherever it is possible that "X is Y" is true, it is equally possible that "X merely looks Y" is true). Hence, given any perception, P, it is possible that P is veridical and possible that P is illusory (Borchert
-Moore uses color in a few ways. Some of his scenes are drawn with color as emotion; others are set by their color schemes. The tone helps portray setting, time and sometimes just to create a feeling.
Linked with colour is the important use of light and dark ni the play to
All of the character mentioned above have different ideas on life but sometime share the same ones. These views give the characters very special depths. Each of the items talked about help bring the book into a different dimension and allows the reader to make a connection with the book that is unattainable from watching a movie or reading a modern day novel. Because these connections are not often seen, it makes analyzing books like these special and very important to