Daphne du Maurier’s Rebecca has captivated audiences since its initial release in 1938. Upon its initial publication, the novel did not receive the kind of critical acclaim one might expect from a novel with the commercial success at the time of its first publication and with such lasting influence. Sally Beauman writes in the afterword to the novel that while “some critics acknowledged the book’s haunting power and its vice-like narrative grip, but — perhaps misled by the book’s presentation, or prejudiced by the gender of the author — they delved no deeper” (Beauman 431). The novel was not merely overlooked, however. With the novel following the “the archetypal scenario for all those mildly thrilling romantic encounters between a scowling Byronic hero (who owns a gloomy mansion) and a trembling heroine (who can’t quite figure out the mansion’s floorplan)” (Gilbert and Gubar 337), it was and often continues to be seen as a rewriting of Jane Eyre into a more modern timeframe. While the similarities in both plot and structure are obvious, the criticism that du Maurier moved “progressive social agenda of the original novel backwards rather than forward with the substitution of the fiery, passionate Jane for the meek and mild unnamed heroine” (Williams 51) is problematic when considering the differences du Maurier made even when she chose certain aspects and settings of Brontë’s work to incorporate in her own.
For a brief moment, miles away from the eyes of god, time itself stood still. And the singing birds went silent in their canopies, and the gentle licks of a passing breeze abated, as if the entire world, save Gatsby, knew. Knew that, like an old timepiece, the gears within the depths of George Wilson’s being had long since begun to fragment, and with the urgency of newfound knowledge, he had only one thought on his mind.
In Virginia Woolf’s “Street Haunting”, the reader follows Woolf through a winter’s walk through London under the false pretense to buy a new pencil. During her journey through the streets of London, she is made aware of a number of strangers. The nature of her walk is altered by these strangers she encounters. Street Haunting comes to profound conclusions about the fluidity of individuality when interacting with other people. Woolf is enabled by the presence of others to subvert her individuality. Instead of reflecting directly onto herself, she uses the people she interacts with as a proxy for her own feelings and opinions. In doing so, Woolf empathizes with the people while engaging in a cold deconstruction of her surroundings, making the
In “The Story of An Hour,” the theme of the story can be derived from two ideals: confinement and liberty. Mrs. Mallard, who feels dominated by her husband and imprisoned in her home, patiently waits her potential freedom. A reader may interpret Mrs. Mallard to be the average, stereotypical wife until her husband is falsely pronounced dead in a train accident. The reader then learns that Mrs. Mallard is not at all who she seems when she reacts in ways that reveal her true desire to live amongst her own company rather than other people.
Woolf takes us through several streams of consciousness, through fiction, through history, and through her own thoughts and experiences. She explores the differences between men’s spaces and women’s spaces by examining two made up colleges, one a men’s college and one a women’s, and what these two colleges do for her as a writer. As she’s exploring these ideas she is careful to never say that one sex is better than the other. However, she does show that women are, despite being equal, inferior.
Equality between the sexes is a relatively new concept. Throughout most of history women have always been treated to less privilege and opportunity as their male counterparts. Beginning in the 19th century onward, women began to make the argument for themselves that they were deserving of more fair and balanced treatment in society. Woman writers, poets, and thinkers began to create the early foundations for feminist thought and logic during this time. One of the pioneering voices in this emerging feminist movement was Virginia Woolf. Woolf, in her essay A Room of One’s Own tries to address the question of creativity between the sexes, and under what conditions does creativity flourish.
Charles Brockden Brown’s novel, Wieland, explores the aspects of both a Gothic and sentimental novel. The novel investigates on subjects such as gender norms, religious views, and femininity. Clara, being both the narrator and protagonist, is driven by gender expectations of the eighteenth-century. She resembles the heroine of a gothic novel, but has independence due to her living on her own. Clara breaks through the eighteenth-century thinking that women were passive and ruled by their bodies and their emotions. Charles Brockden Brown’s novel reflects his ability to convey, through Clara’s first person narrative, the shifting instability of a mind swayed by an objective and subjective perspective.
As the past and future impose upon the present state, time reveals itself to be more of a rounded body which interacts in a way that defies the limitations created by the segmented chronicle. This way, the narrator remains constrained by the straight experience of his present state and the ability of change to happen in his memory, while time functions in a unpredictable way. Individuals are vulnerable against the principles of time, and ultimately the novela suggests that the power of the present, allows the individuals to change the meaning given to the past and
The Short Story The Story of an Hour by Kate Chopin explores the emotions of Louise Mallard a woman with a heart disease. In the hour that the story is told, it ranges from showing Mrs. Mallard different reactions to learning of her husbands death to him surprisingly showing up alive and eventually her untimely death from a heart disease. Although only a brief period of time is shown, many emotions are revealed through the third person omniscient point of view. This point of view shows more than just the protagonists thoughts and is not limited to one person. It allows the readers to know something about Mrs. Mallard that she does not as the story ends after Mrs. Mallard has already died. The readers can be more sympathetic towards Mrs. Mallard.
In Kate Chopin’s “The Story of an Hour” demonstrates the personal growth of the dynamic protagonist Louise Mallard, after hearing news of her husband’s death. The third-person narrator telling the story uses deep insight into Mrs. Mallard’s thoughts and emotions as she sorts through her feelings after her sister informs her of her husband’s death. During a Character analysis of Louise Mallard, a reader will understand that the delicate Mrs. Mallard transforms her grief into excitement over her newly discovered freedom that leads to her death. As Mrs. Mallard sorts through her grief she realizes the importance of this freedom and the strength that she will be able to do it alone.
The play, Who’s Afraid of Virginia Woolf, written by Edward Albee in 1962, is set on a chilly winter night in New England University during the time of The Cold War. It gives a vital insight into the American life through two couples while bringing out the raw human truth behind the phony exterior portrayed by the society. Albee presents characters caught in hopeless, repetitive, and meaningless situation, trying to battle their inner turmoil between truth and illusions. The meaninglessness of life is further brought out through the distorted relationships between the characters by Albee’s characterisation. He brings out the sense of Nihilism where the lack of belief in the world is fuelled by the fear of a nuclear war. The contagious trepidation of death makes the characters question the purpose of life and its significance. This essay will examine how Albee uses the technique of characterization to candidly represent the theme of nihilism through dialogues, symbols, setting and tone.
Everyone leads different lifesytles and varying experiences, but no matter how diffrering a humans life is, it all ends with death. The essay “The Death of The Moth” was published posthumously in 1942, a year after Virginia Woolf lost a battle with depression and mental illness, and at age 59 committed suicide. Virginia Woolf 's "The Death of the Moth" shows the audience the power of death through a short narration about everyday, yet very symbolic moth. Woolf uses her own experience of watching a moth die to apply it to a larger theme. Woolf connects a simple moths lifespan to paint a gorgeous picture of “life” and then destroys it right in front of the audience 's eyes, to leave a lasting impression of Woolf 's perception of life and death. With further analysis and a more in depth look at its message, it is an essay filled with literary devices, diction, detailed descriptions, and use of contrast that provide us with a clear perspective on Virginia Woolf 's acknowledgment of our ultimate destiny with death.
Mrs. Dalloway by Virginia Woolf depicts a day of a high-society women running errands in preparation for an evening party, in companion with Septimus Warren Smith, a veteran of the First World War, who is suffering from shell shock. The novella embraces a Bergsonian sense of time through the distinction Woolf makes between time on the clock and time in the mind, which directly correlates to Bergson 's notion of temps and duree.
Curnow’s ‘Time’ features a rhyme, that resembles the ticking of the second hand, found at the end of each line of the first four stanzas: “pines”, “lines” and “signs”. This technique appeals to the auditory senses of the audience and subtly emphasises the passing of time between the beginning and the ending of the poem. The aforementioned statement about the passing of time is also echoed and shown in the use of two tenses throughout the poem- past and present. Curnow brings attention to this to show the subconscious need to know the