Temptation Ramifications In Stevenson's novella, The Strange Case of Dr. Jekyll and Mr. Hyde, Jekyll gives Lanyon, his distant friend, a critical choice: he can take the potion Lanyon had helped him obtain or he can leave without any explanation. He says “will you be wise? Will you be guided?...or has the greed of curiosity too much commanded you...as you decide you shall be left …. neither richer nor wiser.” (40) Jekyll, in his creation of Hyde, gave into temptations yet he still refers to it as negative or “greedy”. Furthermore, the words “wise” is used twice in contradicting ways.
Using the word “they” implies that where there was once one woman, there are now many. It’s as if in this new mind she is able to see the world differently and reveal the others like the woman in the paper. Clearly she is no longer herself. Now, in the mind of her hallucination, she begins to worry if “she shall have to get back behind the pattern when it comes night,” this ties back to her observation that the woman creeps about during the day but is trapped behind the bars again during the night (Gilman 188). Now that the wallpaper has been removed she has escaped and the narrator is free to retreat into the hallucination’s
She becomes obsessed with the patterns of the wallpaper, but she mainly notices a woman that she thinks is trying to free herself from the confines of the wall. During the day this woman is still, but when night time comes around, it seems as though the woman creeps around. Towards the end of the story, the narrator has a breakdown and thinks that she is this woman inside of the wallpaper, and begins to perform similar actions like creeping around. This meaning of this scene is simple cause and effect. Not only did she already have postpartum depression, but she is basically trapped in this house for a whole summer with nothing to do so she can heal.
This madness is caused by her obsession over what she believes is animate patterns and a trapped women in a peeling, aged wallpaper in her room. As the story progresses it is palpable that the yellow wallpaper itself symbolizes mental illnesses. One reason the wallpaper symbolizes mental illness is because in the beginning of the story the narrator’s insanity is getting worse by her distress over the paper. The narrator of the story is the first person who is affected by the wallpaper, and just like mental illness in real life, the victim is the first person to be aware and affected by their condition. One of the things disturbing the narrator at first were the shapes of the paper and how they became more evident as the days past.“There are things in that paper that nobody knows but me, or ever will.
Steinbeck creates this image when telling the reader, “She turned up her coat collar” and “she was crying weakly”(7). This visual imagery conveys that Elisa is feeling weak and restricted. The turning up of her collar of her coat represents her becoming confined again. Elisa does not feel the same as she did when she thought someone cared about her plants. She feels confined; this connects back to the theme of confinement that is inevitable in this story.
Big Mama is a weak and fat woman who can hardly breathe. Sometimes she is like an old cat, teetering around Big Daddy; and sometimes she is like a kitty, following and obeying him. Maggie is the one who is the most similar to a cat in this play. Cats are capricious, and Maggie performs various of characteristics in the play. Cats like to tidy their fur and pay attention to their appearance all the time.
In the novel, Stevenson uses mirrors to represent Hyde’s physical manifestation, an object that reflects within the person, and he uses the mirrors to show the unstable duality of the individual's psyche. At first mention of the mirror, it is associated with evil and fear. Utterson and Poole go into Jekyll’s home and the pair notice the mirror, “…into whose depth they looked with an involuntary horror” (Stevenson, 57). Both of these characters have never mentioned the mirror before, yet when they look into it they mutual sense of dread, fearing the mirror, but not knowing exactly what they fear. Poole goes on to whisper “‘This glass has seen some strange things, sir’” (Stevenson,
The Role of Psychological Realism in Henry James’s Daisy Miller Daisy Miller is a novella by Henry James, who was a great fan of George Eliot as he was impressed by her looking into the minds as well the souls of her characters. James’s novels mostly explore the moral dilemmas of people who are compelled to deal with cultural displacement. He is famous for his psychological realism. The purpose of writing this essay is to see the role of psychological realism in Daisy Miller. Though Daisy Miller is written by a man and preoccupied with male protagonists but the writer has used a subtle technique of psychological realism in order to portray the complex moral as well as sexual challenges faced by American woman abroad in Europe.
This passage marks the first time the word creep is used in succession. Gilman’s excessive use of the word “creep” is ambiguous, even when considering the context of the story. In this passage, it seems as if the narrator is accepting the creepiness to see the figure in the wallpaper. The narrator isn’t creeped out (or unnerved) but she herself is not only creepy but is creeping so she doesn’t wake John. The moon is affecting her view of the wallpaper and is giving life to the woman inside of it.
The two alternate endings are not possible for a narration that should adhere to the laws of verisimilitude but John Gardner in The Art of Fiction provides some relief to just such an argument: “The reality of the world of the tale, in other words, is that of a moral universe. What ought to happen, possible or not, does happen” (73). He states, what should happen does happen. And moreover in the very beginning, Fowles states that “I must conform to the definition of freedom for me as well as for my characters” and shows the pleasure that he finds in allowing his words to break from convention that has been almost shown on every page, especially at the close of the book with two separate endings for Charles and