In the short story “The Garden Party” by Katherine Mansfield, Mansfield uses a third-person narrative Laura who explores her surroundings. Laura is growing up with a wealthy family who is upholding a garden party. The garden party is sustained with the beauty of flowers and the rejoice from Laura’s family. However, the harmonic tone of the festivity is momentarily overturned with Laura’s empathy on a passing of a worker at the lower-class cottages. Thus, Katherine Mansfield utilizes different settings to develop the character Laura as Laura adapts with a new perspective on adulthood. In the beginning, Mansfield develops a scenery with a calm tone. As the narrator Laura is amazed by the “weather [being] ideal,” she is astonished by the actuality …show more content…
With her transpring thoughts of identifying the correct house with a funeral, she sees “a dark knot of people [standing] outside.” (Short Fiction, 107) Laura classifies the people with a visual imagery of a knot. The “knot” is a symbol of unity because knots are strings tied together. The strings represent the “people [standing] outside,” but as they stand together for the funeral, they become the “knot” for the same common goal. However, Laura sees them as a “dark knot” to suggest that they are a different type of class because she initially desires to make a visit rather than becoming a part of the “dark knot.” Sequentially, Laura finds “herself in a wretched little low kitchen, lighted by a smoky lamp,” and finds a “woman sitting before the fire.” (Short Fiction, 107) The atmosphere in the “little low kitchen” implies that Laura is incongruous because before Laura goes on the journey to the cottages, she has been upholding a garden party. The circumstance of the party can only take place in a spacious area, especially an area filled with guests admiring the beauty of the flowers. In addition, the “woman sitting before the fire” “seemed as though she couldn’t understand why Laura was there...with a basket?” (Short Fiction, 107) Laura contemplates about her arrival because she has deemed the individuals who is standing outside as an outcast. Furthermore, the “basket” is a symbol for hospitality; however, the connotation of hospitality is overturned by Laura’s internal conflict. As a result, Laura isolates herself from the people at the cottages despite her initial goal giving her wishes to the passed
Audrey Petty uses “Late Night Chitlins with Momma” to express her own close bond with her mother and how it shaped her identity; this is expressed through the narrative style, the diction and syntax, the use of food as a metaphor, and the short story’s structure. Narratively this piece does an incredible job of making the reader feel personally invested in the story. The way Audrey Petty does this is through a multitude of techniques. The point of view is a first person omnipotent, allowing for a closer read to the narrator themselves; the narrative flow is akin to being told the story verbally instead of the traditional 3rd person omnipotence.
Observation In her story “A Good Man Is Hard to Find,” Flannery O’Connor shares the tragic experience of a grandmother and her son’s family during their trip to Florida. Although her son, Bailey, and his family act coldly and disrespectfully towards her, the grandmother maintains a positive, cheerful attitude and loves them all. When they stop by Red Sammy’s barbeque during the trip, she reflects on the golden years of the past when people would respect each other and trust in one another’s goodness (O’Connor 501). As the family continues their trip, the grandmother recalls a planation in the area that she visited as a young lady and influences the children to convince their father to take them to the house (O’Connor 502).
In the short stories “A Rose for Emily” and “The Story of an Hour,” the authors use literary devices to create vibrant female characters. These literary devices include diction, imagery, language, and sentence structure. “The Story of an Hour,” written by Kate Chopin, opens with a woman, Louise Mallard, who has a heart disease, and her friends must gently break the news to her that her husband has passed away in a railroad accident. She mourns briefly, but then realizes that she can now live for herself, instead of just as someone’s wife. Shockingly, she walks downstairs after fleeing from her friends’ horrible news, and her husband walks in the door.
The world she lived in was so ugly and plain and she choose to “create beauty in the midst of [all that] ugliness" (62). This helps to create the theme because even though Miss Lottie had so little she still worked hard to care for the beautiful marigolds. In “Marigolds” the author uses diction, symbolism and point of view, to develop the theme that people can create beauty even in the poorest of situations. Through diction, Collier is able to show the reader the contrast between the beauty of the marigolds compared to the run-down town the story is set in.
The imagery had much light and childishness to it. With images such as “it seemed to Myop as she skipped lightly from her house to pigpen to smokehouse that the days had never been as beautiful as these”. As well as having lines such as “she felt light and good in the warm sun”, and “She struck out at random at chickens she liked” to create the feeling of child hood innocence, using all of this light to mean goodness and being unaffected by the harshness of reality. However she also uses the imagery later to show the loss of innocence when she describes everything as darker, when she starts using lines such as “it seemed gloomy in the little clove she found herself in” and “all his cloths had rotted away”. Alice walker is using this imagery to convey that the innocence has been lost at this point, taken by the harshness of reality and death.
Through her use of a changing narrative perspective, Margaret Laurence creates a contrast in character development. Laurence shows the reader the male protagonist of the story, Chris, through the eyes of a child first, then of an adolescent, and finally through an adult’s eyes. At the beginning of “Horses of the Night,” the narrator, Vanessa notices that Chris looks completely oblivious towards Vanessa’s Grandfather’s belligerence, as he is displaying “no sign of feeling anything.” This is the first sign Laurence provides about Chris escaping in order to cope with reality. Next, when Vanessa visits Shallow Creek she comes to a realization that most of the stories Chris has shared with her about the farm, only exists “in some other dimension.”
The setting takes place the majority of the time in the kitchen of Mrs. Wrights home which is described as “dirty” and “gloomy”. The men see the dirty and gloomy kitchen as a sign that Mrs. Wright wq as a bad housekeeper, which in their mind translates to her being a bad woman in general. “Dirty towels! Not much of a housekeeper, would you say, ladies? There’s a great deal of work to be done on a farm…
Italo Calvino Literary Analysis “It is not the voice that commands the story; it is the ear.” (Italo Calvino) Italo Calvino was a famous Italian writer who wanted his life to be known and wanted the people to be interested in his stories. It was not only about what he wanted, it was about what the people wanted to hear. He did not just want to make his stories, he was striving to catch the eye of the readers. Italo Calvino’s writings were inspired mainly by his experiences in the war and acquaintances.
Mrs. Wright is the main character in Susan Glaspell’s one-act play Trifles. While Mrs. Wright is being held by the police for her husband’s murder, a few men go to investigate her home, and a few women go along to gather some of her things to bring to her in jail. As the ladies collect Mrs. Wright’s possessions, they begin to come across trifles. The trifles include: a messy kitchen, a poorly sewn quilt, and a broken bird cage with a missing bird. The women view these items as important clues, and withhold their findings from the men so that they could help Mrs. Wright out of her troubles.
The story opens with Mrs. Wright imprisoned for strangling her husband. A group, the mostly composed of men, travel to the Wright house in the hopes that they find incriminating evidence against Mrs. Wright. Instead, the two women of the group discover evidence of Mr. Wright’s abuse of his wife. Through the women’s unique perspective, the reader glimpses the reality of the situation and realizes that, though it seemed unreasonable at the time, Mrs. Wright had carefully calculated her actions. When asked about the Wrights, one of the women, Mrs. Hale, replies “I don’t think a place would be a cheerful for John Wright’s being in it” (“A Jury of Her Peers” 7).
The point of view of “Geraldine Moore the Poet” is third person limited. The reader is limited to the point of view of only one character. In this story, it is the thoughts and feelings of Geraldine Moore. Proof of this can be found anywhere in the story. Toni Cade Bambara beings the story with, “Geraldine paused at the corner to pull her knee socks.”
In Elliot, A Soldier’s Fugue by Quiara Alegria Hudes, Ginny, mother to Elliot, suffers from PTSD, and maintains a garden as a means of possessing a sense of stability. In 4/Prelude, she recalls her purpose for bringing the garden to life, and the memories it brings back when she spends time there. Through elements of style such as diction, figurative language, and imagery, Hudes establishes Ginny’s garden as a symbol of healing. In this scene, Hudes establishes Ginny’s garden as a symbol of healing, as she utilizes diction to reference Ginny’s specific reasons for constructing the garden, and memories of Vietnam.
And Christopher Mulholland’s is nearly a year before that-more than three years ago’” (Page 66). It is highly peculiar for an extremely cheap bed and breakfast to have only a few visitors over the course of three years. This piece of information may reveal that the landlady has an ulterior motive besides earning money and receiving visitors. A final foreshadowing clue that convinces readers of what will happen to Billy Weaver is, “‘No thank you’, Billy said.
He places her in the nursery of the colonial mansion, despite her requests to be placed otherwise, “I don 't like our room a bit. I wanted one downstairs... but John would not hear of it” (Gilman, 2). The narrator’s husband dictates all aspects of her life to the point where she internalizes her husband 's authority, accepting his dominance over her, “I sometimes fancy that in my condition if I had less opposition and more society and stimulus—but John says the very worst thing I can do is think about my condition, and I confess it always makes me feel bad,” (Gilman, 2). Even though the narrator knows what she needs is to be active surrounded by people instead of cooped up alone in a house out in the countryside, she abruptly stops her train of thought as she remembers John’s instructions to not think about her condition.
This shows a balance between gender roles, as well as the embracing progressive changes within culture and society. In the story “The Story of an Hour,” by Kate Chopin, a third-person omniscient narrator, relates how Mrs. Louise Mallard, the protagonist, experiences the euphoria of freedom rather than the grief of loneliness after hearing about her husband’s death. Later, when Mrs. Mallard discovers that her husband, Mr. Brently Mallard, still lives, she realizes that all her aspiration for freedom has gone. The shock and disappointment kills Mrs. Mallard.