Style in literature is essential to create proper perception from the reader. This is equally as important as establishing appropriate tone. For this propose Ethel Wilson compliments such standards in her works “The Fog”, “Hurry, Hurry” and “The Window.” Wilson’s stylistic techniques are unmatched in uniqueness or assessing human nature versus physical nature. In the fore mentioned texts, Ethel Wilson composes her style from elements of symbolism, motif and character development to flourish understanding of the central idea of responsibility in the human mind when hidden behind nature. Character development in a protagonist is crucial to building themes and the overall intent is discovered through the main character. Wilson approaches the concept of the protagonist in an interesting manner, deciding to not conclude with the protagonist leaves the reader with a lack of pity and perhaps some confusion. Likewise, the protagonists in her plots are isolated, forgotten or consequently dead. In “Hurry, Hurry” the main character, Miriam is first portrayed lonely with only the companionship of her dogs. The setting attributes to isolation through the fragment “No people anywhere.” (Hurry, Hurry) this demonstrates how Miriam is all alone in the vast tranquility of nature. In contrast, the last paragraph in “Hurry, Hurry” does not imply anything about Miriam therefore it leaves the reader confused and the protagonist suppressed. Mr. Willy, from “The Window” is the principal character who is similar to Miriam. Mr. Willy asserts his loneliness through his feelings of being “small and alone” (The Window) therefore exposing how isolated his character is. However, the conclusion in this story does end with the leading character, th... ... middle of paper ... ...ile forms an image of her character. By comparing her eyes with marbles the reader can construct that Mrs. Merkle was expressionless and had cold, glazed hard eyes. For every instance that Mrs. Merkle is mentioned the phrase is repeated, in the last occurrence to excuse her from not crying for the loss of Mrs. Bylow. Wilson’s adaptation of a motif in her writing shapes the character’s conscience based on their emotional reactions to a situation. Ethel Wilson’s exercise of brilliant literary techniques services the reader to comprehend the underlying message in her writing which is nominally responsibility of the human conscience when masked in nature. With application of clever symbolism, motif and character development, Wilson makes the reader question to what extent one should be responsible to through exploration of the human mind when manipulated by nature.
Throughout the short story, the manifestation of the narrator’s conscience as the second Wilson is never known until the end, and thus, is never understood as just another example of Poe’s consistent concretization, until the conclusion; as such, Poe infuses the transformation of other abstract ideas into physicality within the text to tease and elucidate the complex notion of a non-existent second Wilson. The externalization of the narrator’s perplexing internal struggle justifies Poe’s serious and outwardly grandiose style that creates both scenes of metaphorical and actual physicality. Simulating the roller-coaster like journey of self-doubt the narrator experiences, the short story and its meticulously written rhetoric teases the readers with possible knowledge of the second Wilson’s identity without complete certainty, but then hits them with an epiphany, like the one the narrator experiences, about the doppelganger's true identity. In order to understand “William Wilson”, one must not evaluate single excerpts, but the work as a whole, as a dynamic confession by the narrator; only by understanding the conclusion and recognizing its complexity, can one truly appreciate Poe’s mastery which stems from his ability to introduce both the themes and conclusion of the story to the reader
The characters in this story are some very interesting people. They each lead their own way of life, and have their own interests at heart. Some of the main characters in this novel are: Sarny, Lucy, Miss Laura, Bartlett, Stanley, and Sarny's two children Little Delie, and Tyler. Sarny is the central character in this book. She is clever and knows exactly what to even in the worst of times. She is very emotional though, and can break down and cry when the slightest of things happens. This is perhaps from what she has experienced as a slave earlier on in her life. Sarny is fond of teaching people, as a friend named Nightjohn once taught her. Lucy is Sarny's close friend. She is also quite wise, but is a bit too optimistic at times. She never stops smiling and is very friendly. However, she does help Sarny find her lost children. Miss Laura is a middle-aged woman who lives a very luxurious life. She gives Sarny and Lucy a place to live and offers them employment. She also finds Sarny's children for her. Bartlett works for Miss Laura as well. He is a quiet and patient man who is helpful and quite kind. He was however castrated as a young slave boy, and cannot have children. Stanley is Sarny's second husband, for her first died from being worked to death on the plantation. Stanley is a gentle, big, fun-loving man, but is not intimidated by anything. This leads him to his death when he gets mad at a white man, and is confronted by the Ku Klux Klan. Little Delie and Tyler are Sarny's lost children. After she recovers them, and they grow up, Little Delie starts to like business, while Tyler wants to become a doctor.
Tom is a young man bearing the responsibility of his handicapped sister, Laura, and his suffocating mother, Amanda. He works in a factory, and uses his paycheck to provide for the family. Jim, a fellow factory worker and former high school friend, knows Tom as Shakespeare, in that Tom writes poetry, sometimes to alleviate his suppressed feelings of frustration. Poetry is one of Tom’s methods of escape from the lunacy in his home. Adventure is something Tom does not experience much of, and is angst toward his less than mediocre life is expressed in many of his arguments with Amanda.
Though the novel is not told from Frado’s perspective, her story becomes more sympathizing and sentimental from a third person narrative. Wilson uses her supporting characters to express Frado’s emotions and to show her development. Through her style, the reader becomes more aware of the Belmont family and society’s prejudices through how they react to Frado’s suffering. For instance Aunt Abby, one of the more sympathizing characters, says “we found a seat under a shady tree, and there I took the opportunity to combat the notions she seemed to entertain respecting the loneliness of her condition and want of sympathizing friends” (54). While Aunt Abby makes an effort to console Frado, there is no real sympathy in her words. They are mechanical and rehearsed. Aunt Abby does not genuinely care for Frado but she does pity her situation.
The topic I chose to write about is lonely. Many characters in The Pigman are lonely. Some of the characters in the story that are lonely are John, Loraine, Mr.Pignati, and Bobo. My definition of lonely is to be by ones self. Another definition of lonely is being forgotten, left alone. An example of lonely is “The boy was left alone in the park.”
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.
Although these literary works have a bleak perspective that societal values are insuperable, the characters in “The Garden Party” and “Shooting an Elephant” feel guilty for ignoring their personal moral obligations. In contrast, the main characters in “A Cup of Tea” and “July’s People” remain blissfully unaware of their blatant disregard of an ethical code; they cannot even recognize the immoral nature of their actions as it has become second nature.
Distinctive voices offer many different types of perspectives of the world. This is expressed through the texts “Lady feeding the cats” and “Wombat" written by Douglas Stewart and“Shawshank redemption” also written by Frank Darabont. These notions are applied through exploration of humanity and connections between humanity and the nature. The unique interaction of the world offers us a better understanding of these perceptions.
Miller’s use of personification and symbolism in the book shows the situational irony that surrounds Willy. This highlights the overall message of blind faith towards the American Dream. The major case of irony in the book is Willy’s blind faith in the American Dream. This belief is that if one is well-liked, they will become successful. The truth is actually completely opposite. The real belief is that if one works hard, with no regard to how well liked they are, they will be successful. This relationship is shown between Willy and his neighbor Charley. While Willy believes likability is the only way to success, Charley works hard and does not care how people think of him. Through his hard work, Charley started his own business, and is now very successful. Willy, however, ends up getti...
The rational facility of man cannot successfully be revealed, in its entirety, through literal and direct language. Recognizing this reality generated by the nature of such a faculty, Wright utilizes a variety of rhetorical devices, indirect in their capabilities, to establish a realistic and all-encompassing paradigm throughout his story. Consequently, Wright uses irony to shape his characters. Such a methodology is primarily revealed when the writer, assuming the ignorance of his wife, discuss the circumstances intended for her untimely end. Developing exceptional situational qualities, irony is used once more during Lucy’s execution of her dead husband’s plot. Furthermore, that same situational irony is present at the murder of her husband.
This shows how much of a man Wilson is portrayed as by talking about his dirty clothes and hands, how he holds a gun in his breast pocket, and the way Margaret talks about his shoulders being sloped, indicating that he is fit. This illustrative image of Wilson gets the readers to portray him as a good person solely relying on his looks. Although, this image of Wilson being the “good person” was quickly gone whenever Macomber decided Wilson was, in fact, a bastard for sleeping with his wife. Wilson talks about his “experience” with American women from the beginning and how even married females would throw themselves at him, including Margaret. When Macomber realized that his wife was sleeping with Wilson he became angry and stated, “You bastard, thought Macomber, you insolent bastard.” (page 16). In this situation Francis is clearly irritated by both Wilson and Margaret’s actions. He realizes then, that Wilson was never actually his acquaintance, even less his friend. Macomber calls him an “insolent bastard”, showing us a perspective towards Wilson no one generally had. As readers wait for a change in Wilson, he would
Wilson does this by trying to understand why Macomber is nervous; he remembers that Macomber’s inexperience must make him see things in a different light than that which Wilson sees things in. This proves Wilson’s character to be more internally conflicted and aware of his character flaws than is seen of him in the beginning. This timeline of intrapersonal thought helps build Wilson’s characterization as rude and judgemental. In addition to seeking understanding, readers see Wilson’s final characterization development in his appraisal of Francis Macomber.This is seen when “Wilson looked at him appraisingly. Damned if this isn’t a strange one, he thought. Yesterday he’s scared sick and today he’s a ruddy fire eater” (Hemingway 22). In the end, Wilson appreciates Macomber’s character and even goes as far as to praise him. Wilson is proud of what Macomber becomes by the end of the short story and admits that he takes a certain and peculiar liking to Francis. This is Hemingway’s way of showing readers a vulnerable side of Wilson, a side that connects with Macomber through Macomber showing strength in the presence of a challenge, persevering through the disgust
The heroine, Mrs. P, has some carries some characteristics parallel to Louise Mallard in “Hour.” The women of her time are limited by cultural convention. Yet, Mrs. P, (like Louise) begins to experience a new freedom of imagination, a zest for life , in the immediate absence of her husband. She realizes, through interior monologues, that she has been held back, that her station in life cannot and will not afford her the kind of freedom to explore freely and openly the emotions that are as much a part of her as they are not a part of Leonce. Here is a primary irony.
They argue that the character Willy Loman fits the mold of a tragic hero, a misguided man unaware of his flaws who comes to discover them through his journey but ends up dying in a tragic way in the end in grand release of tension. However, Willy Loman doesn’t reach the standard of a high status that is required to be a tragic hero. He is simply a typical man, a simple salesman. Willy is not even great at being a salesman or even a husband and father, the only roles he plays in his simple life. He never comes to discover his many flaws, he is deluded until the very end. The only consistency Willy has with a tragic hero is the tragic end. But the audience does not experience a catharsis of emotions, the audience can anticipate the miserable way Willy goes out but when it happens there is still a lingering air of unresolved misery and , especially for his
The coldness felt in the house as the sheriff and court attorney entered the house symbolized the same coldness brought about by Mr. Wright. For the house to be cold and gloomy and everything else outside the total opposite, was much more than just coincidence. It was as if when you entered the house a cadaver, cold and clammy, had embraced you in its arms. “ I don’t think a place’d be any cheerfuller for John Wright’s being in it”, Mrs. Hale told the court attorney (11). Mrs. Hale knew perfectly well what kind of personality Mr. Wright had, which is why she specified that she wished that she had gone to visit Mrs. Wright when only she was there. “There’s a great deal of work to be done on a farm”, says Mrs. Hale, yet they are seen as mere trifles because it is the women who take on these tasks.