Welty's Characterization in A Curtain of Green
Myth, symbol, and allusion are not an uncommon characteristic in Eudora Welty's works. By using characters such as Odysseus and leaving hints of symbolism in works such as The Optimist's Daughter Welty places many questions in the minds of her readers. After a reader has pondered these questions a categorization of the story takes place in the readers mind. Although different readers have different interpretations of literature one collection of Welty's short stories can be classified into two categories. Katherine Anne Porter's introduction to Eudora Welty's A Curtain of Green explains the two categories:
as painters of the grotesque make only detailed reports of actual living types observed more keenly than the average eye is capable of observing, so Miss Welty's little human monsters are not really caricatures at all, but individuals exactly and clearly presented: which is perhaps a case against realism, if we cared to go into it. She does better on another level-for the important reason that the themes are richer-in such beautiful storiesLet me admit a deeply personal preference for this particular kind of story, where external act and the internal voiceless life of the human imagination almost meet and mingle on the mysterious threshold between dream and waking, on reality refusing to admit or confirm the existence of the other, yet both conspiring toward the same end. (xxi)
According to Porter the two categories found in A Curtain of Green are that of grotesque or monstrous and that of beauty or standing on the gateway between consciousness and unconsciousness. Acknowledging that there are two categories for Welty's stories Porter also address'...
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were paid piece rates so if any problems did occur such as a drop in
Many poets use different types of figurative language to express themselves and convey a message, theme, or idea. In the poem The Day Brushes Its Curtains Aside, by Jimmy Santiago Baca, he describes a man in prison by using figurative language. Reading this poem has helped me grasp a deeper understanding of different ways an author can incorporate figurative language to make the reader feel as if they are in the story right next to the character.
Asma, Stephen. On Monsters :An Unnatural History of Our Worst Fears. New York: Oxford University Press, 2009. Print.
...Gospel with the greatest amount of individual liberty and the minimum of regulation. Cardinal Hugolino, the late Gregory IX, assisted Francis in the completion of the Rule of in 1223. All this effort took its tool on the health of Francis, he started realizing that he was nearing the end of his life. Since he believed he had lived like Christ, he pleaded to die like Christ.
Frankenstein is the story of an eccentric scientist whose masterful creation, a monster composed of sown together appendages of dead bodies, escapes and is now loose in the country. In Frankenstein, Mary Shelly’s diction enhances fear-provoking imagery in order to induce apprehension and suspense on the reader. Throughout this horrifying account, the reader is almost ‘told’ how to feel – generally a feeling of uneasiness or fright. The author’s diction makes the images throughout the story more vivid and dramatic, so dramatic that it can almost make you shudder.
“We are not the sum of our weaknesses and failures; we are the sum of the Father’s love for us and our real capacity to become the image of his Son.” Said by St. Pope John Paul II during one of his World Youth Day homilies this quote perfectly represents the man that St. Pope John Paul II was: a bold, forgiving, selfless, and loving man. Born on May 18, 1920 in Wadowice, Poland; John Paul II suffered a number of tragedies in the early years of his life. By the age of the twenty he lost all of his immediate family, and he credits the death of his father as the point in his life when he heard the call to live a life of religious vocation. In 1939, about one year after John Paul enrolled in The Krawkow Jaggelonian University, the Nazi closed the school and to avoid deportation to Germany all able men had to work. From 1940 to 1941 his holiness did various jobs, but it was during this time period that he was seriously contemplating priesthood. In 1942 John Paul II started studying at the underground seminary run by the Archbishop of Krakow, and during this time he was hit by a truck and recovered in matter of two weeks. To him this was a confirmation of his vocation. Once the war was finished the future pope was ordained priest and was then sent to Rome for further studies. After a two year time period in Rome, His Holy Father received his doctorate in theology and returned to Poland. After serving in several parishes and becoming a well-known religious face in Poland, St. John Paul II became the bishop of Ombi. During the six year time period that his holiness was the Bishop of Ombi, he achieved one of his life’s major accomplishments: he became one of the leading thinkers on the Vatican II council. While he was one the Vatican II co...
In my view, I doubt whether we have misread McCullers’s concern with the deformed people, these “monstrous” characters. We could not explore the flourishing connotation of freakish figures through its correspondence with essence in existentialism. Nor could we simply validate these characters as the product of the exaggeration on loneliness and failure in gaining love. Because these interpretations seem to reduce the aesthetic distinction that McCullers creates. Furthermore, these interpretations “involve a certain sacrifice: they tend to lose humanity, becoming symbols rather than people” (Evans, 302). William Van O’Connor’s accounts for the grotesque in southern writing as a response to a world of violence and upheaval, is highly reasonable
Baldick, Chris. In Frankenstein's Shadow: Myth, Monstrosity, and Nineteenth-Century Writing. Oxford: Oxford University Press, 1990. Print.
Peter Brooks' essay "What Is a Monster" tackles many complex ideas within Mary Shelley's Frankenstein, and the main concept that is the title of the essay itself. What is the definition of a monster, or to be monstrous? Is a monster the classic representation we know, green skin, neck bolts, grunting and groaning? A cartoon wishing to deliver sugary cereal? or someone we dislike so greatly their qualities invade our language and affect our interpretation of their image and physical being? Brooks' essay approaches this question by using Shelley's narrative structure to examine how language, not nature, is mainly accountable for creating the idea of the monstrous body.
Stillinger, Jack, Deidre Lynch, Stephen Greenblatt, and M H. Abrams. The Norton Anthology of English Literature: Volume D. New York, N.Y: W.W. Norton & Co, 2006. Print.
Tragedy shows no discrimination and often strikes down on those undeserving of such turmoil. In Mary Shelley’s Frankenstein, a creature more repulsive than one can imagine is brought to life by a young scientist. Although this creature is horrifying in sight, he is gentle by nature. Unfortunately, the softer side of the creature is repeatedly overlooked and the so called “monster” is driven to a breaking point. Even though the Creature committed many crimes, Mary Shelley’s Creature was the tragic hero of this story because of his efforts rescue the life of a young girl and helping destitute cottagers.
The definition of ‘monstrosity’ and what it means to be ‘monstrous’ can be understood to mean something that is visually unattractive, malformed and/or terrifying. However, monstrosity is not exclusively about something aesthetically ugly, it can also apply to what differs from what is considered ‘normality’. What is ‘normal’ versus what is ‘monstrous’ is closely linked when exploring ideas about the human condition. The representations of monstrosity in Frankenstein and in The Tempest reveal how what is monstrous and what is normal are often found side by side, challenging the idea that it is limited to outcasts who do not ‘fit-in’, and that deep down, a desire to be understood, accepted and included and to live life with meaning are central to the human condition and that monsters in society often reveal our deep seated fears and anxieties about our own existence.
Stanley, George Edward. Pope John Paul II: Young Man of the Church. New York: Aladdin Paperbacks, 2005. Print.
In this course, I’ve learned about the three sub-genres of horror. These three sub-genres are moral allegory, psychological horror, and the fantastic. The first sub-genre of horror, moral allegory, revolves around a rule being broken and the punishments for breaking the rule. There’s commonly a focus on the battle between good and evil, and there is often a supernatural evil involved. Commentary on our society is also common. The next sub-genre, psychological horror, capitalizes on deviant or abnormal human psychology. This abnormal creature creates the horror, whether through their actions or just by existing. The “monster” of the story is often a representation of an aspect of ourselves. This “monster” is not
did not expect success to come without a struggle. In June 1936 her story “Death of a Traveling Salesman” was published in the Journal Manuscript. Within the next two years her work had appeared in prestigious publication as Atlantic Monthly and the Southern Review. Many readers liked her collection of short stories in “A Curtain of Green” and predicted that if would lead her to greater achievements as a successful writer. Two years later her two short stories “The Wide Net” and “Other Stories” were highly appreciated by critics such as Robert Penn Warren. Eudora Welty’s primary goal in creating fiction was not only to relate a series of events, but also to convey a stronger sense of her characters of that specific moment in times, always acknowledging the ambiguous nature of reality. She has written both humorous and tragic stories. Her humorous stories often rely upon the co...