Discoveries that are unexpected in nature confront individuals with unforeseen situations that carry detrimental ramifications. However, it is also this unexpected nature that broadens an individual’s perceptions, surprising them with ensuing opportunities for growth and new discoveries. Rosemary Dobson’s “Collected” and Samra Zafar’s powerful speech “I was abused as a child bride and this is what I learned” both convey the disparate impacts unexpected discoveries have on individuals, including emotional, mental and physical impacts, through the use of alarming and emotive language. Additionally, with their representations of the sudden discovery as a catalyst for other opportunities and self-discovery The audience’s realisation of how unexpected …show more content…
In her poem “Young girl at a window”, Rosemary Dobson affirms the confronting nature of the obstacles that result from unexpected discoveries through the complications that confront the young girl, following the broadening of her perception of change by the discovery of its inevitability. The immediate situation the girl is faced with is one of liminal space, represented by the saturation of finality imagery symbolising the “end of day.” Dobson’s unsettling death imagery also symbolises the state of despair to which the girl was condemned to, where “Time was killed and now lies dead”, through which the audience recognises the change in emotional state as a consequence of the confronting circumstances engendered by the discovery. A further situation of isolation is sparked by the sudden discovery, depicted through the disheartening tone created by the repetition where “nobody spoke and nobody will.” The girl’s consequent sense of suffocation, signified by the adjective in “the breathless light/ Be hosts to you,” represents the pressure on her mental state, through which the audience fathoms the confronting nature of the solitary circumstances on the girl. The audience is therefore compelled to recognise the impacts of the discovery, thus allowing them to understand how unexpected
The timeline carries on chronologically, the intense imagery exaggerated to allow the poem to mimic childlike mannerisms. This, subjectively, lets the reader experience the adventure through the young speaker’s eyes. The personification of “sunset”, (5) “shutters”, (8) “shadows”, (19) and “lamplights” (10) makes the world appear alive and allows nothing to be a passing detail, very akin to a child’s imagination. The sunset, alive as it may seem, ordinarily depicts a euphemism for death, similar to the image of the “shutters closing like the eyelids”
Discoveries are shaped by an individual’s attitude to confronting or provocative discoveries which may challenge an individual’s existing values. William Shakespeare’s tragicomedy The Tempest (1611) and Herbert George Well’s scientific novel The Island of Doctor Moreau (1896) both examine the transformative capabilities of provocative discovery in promoting a re-evaluation of the importance of power. However, they hold differing views of the influence of an individual’s receptiveness to change in determining their personal transformation.
Most of the time there is a moment in life where one realizes they have lost all innocence and gained some compassion. “Marigolds” shows how one young girl transferred from a child to young adult through her life experiences. Throughout this story another young, but at the same time old in her prime, lady’s experiences are revealed: the author’s. In this short story, “Marigolds,” Eugenia Collier’s subconscious is unmasked through symbolism, diction, and Lizabeth’s actions.
... Joyce Dorado. "Who Are We, But For The Stories We Tell: Family Stories And Healing." Psychological Trauma: Theory, Research, Practice, And Policy 2.3 (2010): 243-249. PsycARTICLES. Web. 2 May 2014.
“Marigolds”, a short story written by Eugenia Collier, illustrates a very complex struggle,but one almost all of us can relate to. It was set in the Great Depression, yet it has relevance today. It is a struggle all of us must go through, though it may hidden unlike the struggle Collier describes. “Marigolds” conveys the struggle between an aimless and innocent adolescent, and a mature and compassionate adult. The clash of two minds and two consciences. Looking through eyes of a 14 year old girl named Lizabeth, Collier declares a very important and relevant message to the reader. One summer night, Lizabeth learns the same lesson Collier wishes to tell the reader. Her theme in “Marigolds” is living a ignorant life, like that of a child,
Under the orders of her husband, the narrator is moved to a house far from society in the country, where she is locked into an upstairs room. This environment serves not as an inspiration for mental health, but as an element of repression. The locked door and barred windows serve to physically restrain her: “the windows are barred for little children, and there are rings and things in the walls.” The narrator is affected not only by the physical restraints but also by being exposed to the room’s yellow wallpaper which is dreadful and fosters only negative creativity. “It is dull enough to confuse the eye in following, pronounced enough to constantly irritate and provoke study, and when you follow the lame uncertain curves for a little distance they suddenly commit suicide – plunge off at outrageous angles, destroy themselves in unheard of contradictions.”
For many people, the early hours of the morning can hold numerous possibilities from time for quiet reflections to beginning of the day observations to waking up and taking in the fresh air. In the instance of the poems “Five A.M.” and “Five Flights Up,” respective poets William Stafford and Elizabeth Bishop write of experiences similar to these. However, what lies different in their styles is the state of mind of the speakers. While Stafford’s speaker silently reflects on his walk at dawn from a philosophical view of facing the troubles that lie ahead in his day, Bishop’s speaker observes nature’s creations and their blissful well-being after the bad day had before and the impact these negative thoughts have on her psychological state in terms
An individual’s discovery inevitably involves their attitudes and beliefs being challenged and transformed. Michael Gow represents the ramifications of a discovery through
When faced with a life altering situation although Molly’s characteristics and personality aid her in courageously defying them, the effects of facing this traumatic event will lead to long term psychological repercussions. When severe harm is inflicted on a person’s psyche, it is viewed as an emotional trauma (Levers, 2012). The emotional harm inflicted on Molly’s psyche originates from different dimensions; like her upbringing, her trauma is multidimensional too. As a child of the Indigenous community, whose ancestors and elders were killed violently in inter-group conflicts, and whose children were forcefully removed from families, Molly is would experience intergenerational trauma (Atkinson, 2002). Intergenerational trauma is trauma passed down from one generation to another; as a close knitted community group, the grief experienced by family members of losing their loved ones, would have been transferred across generations (Atkinson,
Often it seems one may not even know they have wanted something until they have found it. In the aftermath of Janie and Jody’s debilitating relationship, she finds this something on a sweltering summer day. He struts into Janie’s store with an air of indifference and an intoxicating presence. His name is Tea Cake and Janie falls instantly in love: “He drifted off into sleep and Janie looked down on him and felt a self-crushing love. So her soul crawled out from its hiding place” (128). Janie’s action of “looking down on him,” alludes to the nature of their relationship. She wants to gaze tenderly at Tea Cake while he sleeps. She also has the ability to “look down” upon a man. Further, this action is followed by her feeling a “self-crushing love.” A love that inches inside of her veins and corrodes her arteries. A love that awakens her soul and probes it to “crawl out from its hiding place.” This display of vulnerability exhibits Janie’s undeniable and unequivocal love for Tea Cake. Also, as her soul “crawls,” like a baby or young child, the fresh sweetness of their love becomes apparent. It pokes its head out from hiding and ventures out into a new world. A world where love crushes Janie’s body and heart. A world where this pain is brilliant and
The short story called “The Landlady” written by Roald Dahl has an amazing amount of suspense and foreboding. Dahl’s diction brings the reader to a point to wonder what he is trying to convey. Billy Weaver is a 17-year-old boy who has traveled by train from London to the city of Bath, and he was quite unfamiliar with it. Shortly, he was starting a new job there, and is on his way to The Bell and Dragon, which is a pub where he was told to stay at when something caught his eye. He saw a house that was offering a bed and breakfast. At first he noticed that the Landlady was a little on the kooky side, but was blinded by her round pink face and gentle blue eyes, and also her kindness. He was trapped, and eventually it resulted in his death.
The symbols and imagery used by Kate Chopin's in “The Story of an Hour” give the reader a sense of Mrs. Mallard’s new life appearing before her through her view of an “open window” (para. 4). Louise Mallard experiences what most individuals long for throughout their lives; freedom and happiness. By spending an hour in a “comfortable, roomy armchair” (para.4) in front of an open window, she undergoes a transformation that makes her understand the importance of her freedom. The author's use of Spring time imagery also creates a sense of renewal that captures the author's idea that Mrs. Mallard was set free after the news of her husband's death.
...ttachment or emotion. Again, Heaney repeats the use of a discourse marker, to highlight how vividly he remembers the terrible time “Next morning, I went up into the room”. In contrast to the rest of the poem, Heaney finally writes more personally, beginning with the personal pronoun “I”. He describes his memory with an atmosphere that is soft and peaceful “Snowdrops and Candles soothed the bedside” as opposed to the harsh and angry adjectives previously used such as “stanched” and “crying”. With this, Heaney is becoming more and more intimate with his time alone with his brother’s body, and can finally get peace of mind about the death, but still finding the inevitable sadness one feels with the loss of a loved one “A four foot box, a foot for every year”, indirectly telling the reader how young his brother was, and describing that how unfortunate the death was.
Innocence is something always expected to be lost sooner or later in life, an inevitable event that comes of growing up and realizing the world for what it truly is. Alice Walker’s “The Flowers” portrays an event in which a ten year old girl’s loss of innocence after unveiling a relatively shocking towards the end of the story. Set in post-Civil War America, the literary piece holds very particular fragments of imagery and symbolism that describe the ultimate maturing of Myop, the young female protagonist of the story. In “The Flowers” by Alice Walker, the literary elements of imagery, symbolism, and setting “The Flowers” help to set up a reasonably surprising unveiling of the gruesome ending, as well as to convey the theme of how innocence disappears as a result of facing the harsh reality of this world.
Myra, who is dying of illness, escapes the confinement of her stuffy, dark apartment. She refuses to succumb to death in an insubordinate manner. By leaving the apartment and embracing open space, Myra rejects the societal pressure to be a kept woman. Myra did not want to die “like this, alone with [her] mortal enemy” (Cather, 85). Myra wanted to recapture the independence she sacrificed when eloping with Oswald. In leaving the apartment, Myra simultaneously conveys her disapproval for the meager lifestyle that her husband provides for her and the impetus that a woman needs a man to provide for her at all. Myra chose to die alone in an open space – away from the confinement of the hotel walls that served as reminders of her poverty and the marriage that stripped her of wealth and status. She wished to be “cremated and her ashes buried ‘in some lonely unfrequented place in the mountains, or in the sea” (Cather, 83). She wished to be alone once she died, she wanted freedom from quarantining walls and the institution of marriage that had deprived her of affluence and happiness. Myra died “wrapped in her blankets, leaning against the cedar trunk, facing the sea…the ebony crucifix in her hands” (Cather, 82). She died on her own terms, unconstrained by a male, and unbounded by space that symbolized her socioeconomic standing. The setting she died in was the complete opposite of the space she had lived in with Oswald: It was free space amid open air. She reverted back to the religious views of her youth, symbolizing her desire to recant her ‘sin’ of leaving her uncle for Oswald, and thus abandoning her wealth. “In religion , desire was fulfillment, it was the seeking itself that rewarded”( Cather, 77), it was not the “object of the quest that brought satisfaction” (Cather, 77). Therefore, Myra ends back where she began; she dies holding onto