Burial Rites, a speculative biography authored by Hannah Kent details the story of the last Icelandic woman who was executed, Agnes Magnusdottir. Kent utilises the first chapter of the novel to establish prevalent themes in the novel, such as the wealth disparity associated with the lower-class men and authority. In addition, Agnes’ isolation in the first chapter consolidates the recurring theme in the novel. In contrast, the opening chapter does not depict Agnes’ recount of the murder, which suggests that the most integral feature to establishing key aspects of the novel would be Toti’s character; and despite providing readers with characterisation on the protagonist, Agnes’ motives and personality is not explored in depth, causing the readership …show more content…
Blondal’s ‘red coat with silver buttons’ is contrasted to Steina and Lauga who ‘[rub] mud off [their] skirts’. The monotonous colours of the sisters’ clothing compared to Blondal’s spritely red garments with shimmering embellishments exemplify the extent of society’s wealth disparity. Further, Blondal’s ‘bright red coat’ is also suggestive of his power, as red tones are typically symbolic of strength, authority, thus establishes his determination to bring Agnes to her death for the crimes she committed. Despite Steina and Lauga’s father being a district officer, they still live amongst ‘the hovels of peasants and farmers’, which ‘begin to repel’ Blondal, who is ‘accustomed to the more spacious dwelling… built from imported wood’. Through this, Kent introduces the capitalist attitudes present at the time, subsequently demonstrates Blondal’s forthcoming manipulation of Agnes’ trial and the disempowerment of several characters in the novel who do not have the influence that Blondal possesses. Thus, the opening chapter is used by Kent to establish the wealth disparity between people of different social classes, hence encourages the reader to anticipate the impending result of Agnes’ …show more content…
Agnes, who ‘keeps company with only about the fetters on [her] wrists’ is not only symbolic of her lack of freedom, but also depicts the lack of company and human contact she received during her time at Stora-Borg. She ‘kept company with only… the dirt floor, dismantled loom, abandoned in the corner, an old broken hand spindle’, all inanimate objects that were either broken, unused or discarded. By categorising herself with these tattered objects suggests that she is ‘dismantled… abandoned and broken’, conveying the destructive perception of herself, as well as her perceived lack of worth. Additionally, through the voice of Agnes, readers come to terms with her mistreatment as ‘they leave [her] in the dark, deny [her] light and air… never speak to [her]… refuse to meet [her] eyes’ as if she were an animalistic creature. This depiction of her suffering and disempowerment is what leads to her isolation, as others view her as a threat to the valley and a person who is unable to be contained. Kent uses Agnes’ lack of human contact to consolidate the idea that people should not be ostracised for their actions, as it can be harmful to the mental wellbeing of the individual. Thus, Kent’s characterisation of Agnes’ isolation in the first chapter introduces the reader to the crucial theme of loneliness and suffering, an integral aspect of
Despite the common cliché, ?don?t judge a book by its cover,? you never get a second chance to make a first impression, most first impressions are derived from appearance. Edith Wharton harshly juxtaposes the appearances of Mattie and Zeena, to such an extreme that it almost seems bias. From the beginning of the novel, Zeena is depicted as an old and ?repugnant? (46) housewife. Substantial background information is not given, nor causes for her worn out and ?bloodless? (53) demeanor. ?Though she was but seven years her husband?s senior, she was already an old woman.? (53) In harsh comparison, Mattie is portrayed as a youthful, vivacious woman, yet with natural beauty. This drastic juxtaposition is black and white, with no grey areas, just the strong Mattie and the feeble Zeena. However, the colors used to describe Mattie and Zeena are not black and white, they each ...
There are many different ways in which the war was represented to the public, including drawings, newspaper articles, and detailed stereographs. Stereographs such as John Reekie’s “The Burial Party” invoked mixed feelings from all of those who viewed it. It confronts the deaths caused by the Civil War as well as touches upon the controversial issue over what would happen to the slaves once they had been emancipated. This picture represents the Civil War as a trade-off of lives- fallen soldiers gave their lives so that enslaved black men and women could be given back their own, even if that life wasn’t that different from slavery. In his carefully constructed stereograph “The Burial Party,” John Reekie confronts the uncertainty behind the newly
In the small, desolate town of Starkfield, Massachusetts, Ethan Frome lives a life of poverty. Not only does he live hopelessly, but “he was a prisoner for life” to the economy (Ammons 2). A young engineer from outside of town narrates the beginning of the story. He develops a curiosity towards Ethan Frome and the smash-up that he hears about in bits and pieces. Later, due to a terrible winter storm that caused the snow itself to seem like “a part of the thickening darkness, to be the winter night itself descending on us layer by layer” (Wharton 20), the narrator is forced to stay the night at Frome’s. As he enters the unfamiliar house, the story flashes back twenty-four years to Ethan Frome’s young life. Living out his life with Zenobia Frome, his hypochondriac of a wife whom he does not love, Ethan has nowhere to turn for a glance at happiness. But when Zenobia’s, or Zeena’s, young cousin, Mattie Silver, comes to care for her, Ethan falls in love with the young aid. Mattie is Ethan’s sole light in life and “she is in contrast to everything in Starkfield; her feelings bubble near the surface” (Bernard 2). All through the novella, the two young lovers hide their feelings towards each other. When they finally let out their true emotions to each other in the end, the consequence is an unforeseen one. Throughout Ethan Frome, Edith Wharton portrays a twisted fairy tale similar to the story of Snow White with the traditional characters, but without a happy ending to show that in a bleak and stark reality, the beautiful and enchanting maiden could become the witch.
The novel’s use of contrast between East Egg, West Egg, and the Valley of Ashes begins to explore the differences between social classes. East Egg houses the most wealthy and aristocratic members of the nearby area. It contains many “white palaces” (Fitzgerald 10) that are quite “fashionable” (Fitzgerald 10). This description paints an image of purity and untouched standards of wealth that are translated into the book’s time period. Due to the pristineness of the village, the homes “[glitter] along the water,” (10) further supporting the idyllic qualities East Egg appears to have. West Egg, on the contrary, is home to people of near equal affluence, but of less social establishment. It is described by the narrator as “less fashionable,” (Fitzgerald
While Agnes was cleaning her sisters room she found her sister’s journal and her curiosity compelled her to find out more about her and
In the poem, “Jamie” by Elizabeth Brewster, Brewster describes the feeling of people who are isolated and different from the rest of society. Through describing the life of the main character Jamie, who was suddenly deaf when he was sixteen, the author is able to convey the bitterness and the anger of people’s solitude. In the story, Jamie had no friends and lived in the woods alone. This clearly shows Jamie was lonely. He experienced loneliness, bitterness, anger and being a social outcast throughout the poem. The character Jamie could be considered to represent those who no longer have an interest and passion in their life.
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.”
Edgar Allen Poe's story, The Premature Burial, explores the narrator's concern of being buried alive. The theme is that you simply will overcome your fears as long as you do not target the dark and dreary things in life. Throughout the complete story, the talker is consumed by his fears. He has catalepsy, that could be a wellbeing within which the person cannot move or speak. This condition will last from hours to months. The talker doesn't need to be alone however he doesn't need to be around folks as a result of he's afraid that they're going to suppose that he's dead. "No event is so terribly well adapted to inspire complete distress, as is burial before death." The talker goes through different incidents of individuals being buried alive
In Burial Rites Agnes undergoes extreme abuse and wakes up with seemingly no reason to live. Regardless of this situation, Agnes remains unyielding in her values, identity and beliefs, refusing to be dehumanised by society; “I will hold what I am inside, and keep my hands tight around all the things I have seen and heard, and felt.” It is through this stoicism and self-empowerment that Agnes emerges as an unsuspecting role model in the text. Kent establishes how it is also the kindness and generosity of others that ultimately gives Agnes a reason to live. Specifically, Agnes’ passion for life is renewed through her cathartic, confessional story-telling to Toti. Toti, unlike the biased majority of society, does not “pluck at [Agnes’] words like birds” and instead is an empathetic, understanding listener. Furthermore, despite initial hostility, Margret and her family grow to understand and empathise with Agnes and ultimately become very close with her, becoming “tearstreaked” in the days leading up to her death. Kent uses symbolism in the form of a brooch given to Agnes by the Jonsdottir family to illustrate the final, compassionate acceptance of her humanity. Overall, the author demonstrates to the reader how women like Agnes can stay strong in the face of adversity by remaining resolute in their beliefs, as well as the importance of treating others with understanding and
The Romantic Era was a time when writers wrote with passion in relation to elements of writing such as the fantastic or supernatural, the improbable, the sentimental, and the horrifying. Edgar Allan Poe was one of the many writers who used elements such as these in his writings. Poe was famous for reflecting the dark aspects of his mind in a story, creating detailed imagery intriguing the reader. The fantastic and supernatural elements are expressed in The Premature Burial as impossible and in a sense, horrifying. The idea of people walking after their believed death is very extreme thinking in a world that seems normal.
standing in riding clothes with his legs apart on his front porch. He likes his power, and like the emperor of eastern kingdoms, he expects. the obedience of his subjects. It is not only through character status that wealth is symbolised but also through the colour “gold”. Towards the end of page 9 the reader is given a sense of time and a positive idea of how the modern world is progressing, through the metaphor of “growing trees” and the “burst of leaves” creating new.
A major theme present in Burial Rites is what women are supposed to be, the meaning of being a woman. In the 1800s, women were supposed to be quiet and attractive, and useful in the home. Women were not expected to be able to speak for themselves, and definitely not to stand up for themselves against the way they are treated by men. This is expressed through the way Sigga was let off on probation, as she clearly fits the image of a traditional archetype of a woman, she is dumb and pretty. Agnes however is put to death, she doesn’t conform to the normalised sense of beautiful, and is too smart for her own good, this causes her to be "made an example of."
Honesty on the Line Honesty is a value that is imperative to the trust and honor of a person. When the main character in “Ashes” by Susan Beth Pfeffer, is faced with a decision that may cause her to break the trust she has with her mother, she is torn as to what she should do. The main character is Ashleigh, a middle school age girl, whose parents are divorced. Within the last couple months previous to the story, Ashleigh had decided she liked her dreamer of a father more than her practical, prepared mother.
While Thomas Gray's "Elegy Written in a Country Churchyard" overtly deals with the distinction between social class and the opportunity for greatness, the poem also contains a subtle yet strong message against the dominant role of men over women in society. Gray's tone throughout the poem is permeated with regret and a sense of something lost, voicing his opinions clearly against social class prejudice. This emotional tone, when applied to the stereotypical roles of differing sexes discussed throughout the poem, portrays the injustice of inequality between males and females.
Helen’s early life was very much shaped by her loss and abandonment. The greatest loss Helen experienced was the death of her parents. As she was orphaned by the age of six, it left her with great grief, darkened childhood memories and bewilderment of where she truly belonged. She eventually found her position as a labourer in her uncle’s house. After working on her uncle’s farm for two years and being denied an opportunity for education, she faced the most significant abandonment in her life: being turned