Throughout the whole semester we have read novels and poems in which characters were escaping the reality by creating the imaginary world. Each character has a different story and a different reason to do that. In the novel “The Yellow Wallpaper” by Charlotte Gilman, the main character, who is also the narrator of the story, is a young woman, who 's suffering from what in modern days is known as postpartum depression but back than was diagnosed as hysteria. Due to her illness her husband John, who is a physician, moves the whole family to a colonial mansion, and lock her up in what might have been an attic and described by her “big airy room (…) , with windows that look all ways, and air and sunshine galore.”1 Because of the fact she is locked in the room, and her husband busy with work, is gone all day, she has not much to do and after getting bored of looking through the window she starts to discover the wallpaper. The further we get to the novel, the more often the descriptions of the wallpaper appear, and they get more detailed – she becomes obsessed with it “I 'm getting really fond of the room in spite of the wallpaper.
We will forget Him!” uses not only the words but the punctuation to comment upon the effect of emotion and logic, alluding to Dickinson’s own struggle with anger and love. The narrator expresses her anger through the use of exclamation points, demanding “Heart! We will forget him!”(1). There is a clear indication that the narrator is wanting intellect to win over her emotions, but that is almost never the case. The narrator assumes forgetting her lover will make the pain better and is angry at her heart for not allowing her to forget him.
“The Yellow Wallpaper” is set in a mansion out in the country that has been rented by the main character and her husband for the purpose of carrying out her rest cure (Gilman 489). The room that John chooses for the two of them is a former nursery. All the windows in this room were barred, and the walls were covered in a yellow wallpaper, which the main character describes as “one of those sprawling flamboyant patterns committing every artistic sin” (Gilman 490). The main character protests this choice of rooms and asks her husband to move, but he refuses. This room essentially becomes a prison for the main character.
Furthermore, the practical idea of the medical institution was to keep her away from becoming more ill, but in the end, it was rather destroying her more as she faced the truth of the inner reality of her life. Finally, the short story concludes with the narrator still trapped inside the secluded room. The setting emphasizes the narrator’s life by showing internal graduation of frustration that was going through her mind. As a result, Charlotte Gilman provided evidential clues from the text to distinguish and make clear of the setting. “The Yellow Wallpaper” verifies the understanding of the setting and cultivates the perspective of the characters.
"The Yellow Wall-Paper" is a short story from the perspective of a woman who has just had her baby and has now moved into a mansion styled home with her husband. Following the birthing, the narrator must get rest and stay away from things that will stimulate her too much according to her husband, John, a Physician. John tries to keep his wife secluded from the other people working at the home and some of the beauties and gardens outside. The room that the two make into theirs is on the third floor of the home in a room that was once used as a nursery. This room has a faded, yellow wallpaper that the narrator becomes unsatisfied with over time along with the other imperfections that the room has due to it being decrepit such as windows that have boarded up.
Another way familial corruption is caused by the absence of fathers is portrayed by Shakespeare and Williams is through the characterization of the family members left behind. In The Glass Menagerie, Amanda Wingfield lives in the shadow of her past and is obsessed with the idea of gentlemen callers for her daughter. This concern for her daughter is rooted more in Amanda’s own interest, however, and has a detrimental effect on their relationship. “Once we analyse how Amanda manipulates maternity, a factor more fundamental than nostalgia will begin to emerge. This principle is self-consciousness.” (Levy).
In Antigonick, “This is Eurydike’s monologue” (Carson) prefaces her monologue. Immediately, the meta-textual comment portrays Eurydike as an emotionally detached character, as it gives the impression she has a more narrative role as opposed to an emotionally invested one. On the contrary, Eurydice in Fagles’ translation addresses listeners with, “My countrymen, / all of you” (1304-1305). Her prompt establishment of a relationship with the other characters gives her an empathetic quality, and suggests she experiences a similar emotional trauma. Furthermore, unlike Fagles’ translation, Antigonick tarnishes Eurydike’s importance as a character when she says, “it’s her [Eurydike’s] only speech in the play” (Carson).
So Tthe author indicates that Mary is a woman of different personality traits and we are left to unravel her true identity. We have to ask ourselves if Mary Maloney is doing this as a desperate act or if she is actually a calculated sociopath. Talking about this for a brief moment, I would have to say she is a calculated sociopath for the following reasons. In the beginning, Mary shows how loving and devoted she is to her husband. The story states “The room was warm and clean, the curtains
“When We Two Parted” showcases a clear cyclical structure- describing how the two parted “in silence and tears” in the first stanza, before closing the fourth stanza by commenting that, if the two should meet again in the future, the narrator will greet her again “with silence and tears”. Byron’s repetition of “silence and tears” illustrates the narrator’s never ending agony of the breakup. Much like the entirety of the poem, however, there is a sense of ambiguity with the use of nouns ‘silence’ and ‘tears’- which could symbolise the narrator’s ever-growing anger as they do his heartbreak. Similarly, “Neutral Tones” too has a cyclical structure- shown when the narrator first describes
In reading, it can be also found that Bartleby 's life and that of the woman are very impersonal, but Bartleby 's is more since the woman, at least, the woman tries to communicate with her son and her husband in order to solve it is happening to her. An obvious difference between the woman and Bartleby is when she realizes that she was wrong, “What has happened to me, I’m not myself anymore.” (Pg. 40) This is represented when she hit the child because of his antics. Her husband tried to help her in many times; he hired a nanny. This made the wife feel freer for a little bit.
The changing of colors in certain settings of the book represent the transition from Ethan’s constrained lifestyle to breaking from the chains that bound him in a loveless marriage with Zeena. Ethan recalls “what a colourless slip of a thing [Mattie] had looked the day he had met her at the station” (Wharton, 31), similar to the pale appearance of his own wife. However, Mattie’s habit of blushing and wearing colorful clothing seem to represent Ethan’s development of feelings toward her. This is in contrast to Zeena, who remains a bitter and repressive character throughout the entire story. The final scene in the novel shows the change between two colors that Mattie and Zeena symbolize, finally showing Ethan’s acknowledgement of his real desires.
Throughout the work, supporting characters such as Moira comment on the two’s strange relationship. Its nature is truly revealed in this scene of supposed embarrassment, when instead of being shocked, Colin’s mother is warm and inviting. Even at this progressed stage in her son’s delusion, Colin’s mother has the ability to reform her son’s behavior. Instead of doing so, she encourages his abnormal behavior and asks, “Are you going all loopy” (Rendell 163)? It is this support coupled with a strange childhood that push Colin to blur the link between his human and animal