This is effectively communicated in Robert Frost’s ‘Stopping by the Woods on a Snowy Evening’ through its use of imagery and dark sensory associations, portraying a pessimistic life of an individual. The catalyst of the reflective lake extrapolates that discovery does not need to be momentous, but merely reflective, allowing him to renew and re-engage with his own sense of reality. Furthermore this is efficaciously demonstrated in James McTeigue’s ‘V for Vendetta’ through high camera shots and low lighting to convey vulnerability and isolation. The hellish torture and the brutality of the government Evey endured behaved as a platform upon which she discovered and renewed her perception of herself and the world around her. Thus both texts are effectual in communicating that discovery and a change of perspective is made possible when we remove ourselves to a place of solace and reflection.
Frost repeatedly uses this symbol, and “the image...has represented indecision in Frost’s other poems…‘Stopping By Woods on a Snowy Evening,’ ‘Birches,’ and ‘Mowing’” (Rukhaya). The woods can also dually represent self-reliance and nonconformity. By acknowledging his choice in the woods alone, the traveler shows that he is willing to “oppose social norms” (Rukhaya) and rely on his own instinct to come to a decision. As an extended metaphor for choice, it makes sense that the roads represent the journey of life and decision. There are two roads, two choices, and two representations of decision.
The limited perspective the reader has of these nameless characters creates an even more unsettling atmosphere to Bell's dream/fairytale like prose. The dirt, woods, and lake in the title of the book are reoccurring themes throughout the story. The woods, and the lake are often used in classical fairytales as turning points and cause of change for the protagonist and is used similarly in this story for the protagonist and his wife. Although the novel itself deals with more mature topics like miscarriage and is graphic at points Bell's language is very appealing. It's easy to get lost in the lyrical almost poetry like writing that weaves together both beautiful and intense images that leave the reader engrossed in every word.
In the novel, The Scarlet Letter, by Nathaniel Hawthorne, the symbolism that has been shown in the book represents something more than one can imagine or even greater. The forest plays a pre-dominate role in the plot where it brings out a deeper understanding and shows symbolism. Each of the characters can relate to the forest in different ways thus, bringing their emotions and feelings the character experiences. For some people, the forest may be considered an outskirt and a place of wrong doing, but for others, it is a place where they can be themselves. All in all, the forest shows symbolism that greatly impacts the characters throughout the story.
The forest contains much light and symbols of freedom, but the narrator provides evidence of its fallen qualities through images such as the broken and fallen trees in the brook. When Mistress Hibbins sees Hester Prynne, she wonders whether or not Hester will be “‘merry company in the forest for the Black Man’” (105). The forest offers protection from the eyes of religious scrutiny, allowing sin and darkness to establish a solid ground of influence. Similarly, the narrator often depicts Chillingworth “emerging from he perilous wilderness,” (106) or picking herbs along its boundary. As seen in his relationship with Arthur Dimesdale, Chillingworth desires to tap into the power of the forest in order to control people.
In the text, “Young Goodman Brown”, Brown’s gloom and withdrawal is justified by the shocking events in the forest. This is because, during his time in the forest, be bears witness to supernatural events in which he sees that many people he knows from the path of god are in reality on the path of the devil. For Brown to be justified in his feelings, the events in question must be deemed events that were real. To start, when Brown first exited the woods after witnessing the ritual, he heard Deacon Gookin, a man at the ritual, praying. Upon hearing this, Brown asks himself “What God doth the wizard pray to?” because he knew that Gookin was a satanic worshiper.
Someone might want to know their reason for living, and with wanting to find that reason, their goal may be accomplished. In this case, Equality 7-2521 had found a home in the Uncharted Forest that has many manuscripts from the Unmentionable Times, which he reads and learns the word “I.” He now expresses his feelings with “I” saying, “I wished to know the meaning of things. I am the meaning” (Rand 94). Equality 7-2521 was very eager to read those manuscripts and learn of the word that he felt was missing, so with his wanting and gain of new knowledge, he discovered his self-identity. With his newly found self-identity, he learns that he is his own person that lives for himself, and not for a group of people.
Whelan offers an intriguing reading casting Michael Furey nearly as a ghost that haunts Gabriel, personified in the story by the ubiquitous snow and cold. If this be true, Michael Furey is a much more important character to the story than previously thought. Whether it is the cool air of the Conroys’ hotel room or the death of cold that Mrs. Malins is supposedly going to get, Furey is a fairly constant presence in the story. Particularly haunting is the end scene where “Gabriel 's attention is directed to the snow outside by ‘a few light taps upon the pane,’ recalling Michael 's efforts to attract Gretta 's attention by throwing gravel up at her window,” (Whelan). Contrastingly, Morrissey’s text portrays Michael Furey as little more than someone “whom he [Gabriel] would rather forget,” (Morrissey 27).
“A November Landscape” has un unpromising beginning and ends with hope while “Winter” begins almost optimistically yet has a disheartening ending. The opening of ‘A November Landscape’ contains phrases such as: “...land bereft of bird and leaf, of body and of soul…” The land is devoid of life, painting quite a depressing picture. However, it ends much more optimistically with words like: “...and yet…” and “...when April lured the crocus through the snow…” The poem takes a turn for the best, displaying a chance at life. ‘Winter’ starts with sentences like: “Winter has turned reluctantly at last, unfastened the sharp snares...” and “Winter has gone.” It seems as if the oppresser is leaving, granting the prisoner freedom. The ending, though, is far less optimistic: “...we must be captives still…” and “...speak with his bitter breath…” The author speaks of how even though Spring has come, she cannot save them from Winter’s lingering grasp.
Yet, the wintertime is a time in which Anne must endure while she watches Captain Wentworth chase after another love, Louisa Musgrove. The force of nature, like in many others of Austen’s novels, plays a part in the protagonist’s life. “Just as the season of autumn is cherished in the novel because it shows external nature as it is passing in the eternal repetition of its immense cycle of bloom and decay, so life is to be cherished as it is passing in the individual, and it is to be respected as it endures the race” (Duffy 280). The passing of the blooming and decay repetition of the seasons passes through the individuals, in this case, Anne Elliot. Like the quote from Duffy states, Anne will endure the race and cycle.