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A Look at the Character Karintha in Jean Toomer's Cane
Jean Toomer's Cane begins with a vignette entitled "Karintha" about a young woman who grows up too quickly. The first paragraph tell us that "men had always wanted her, this Karintha, even as child...." From the description that is presented, it appears that she was always beautiful and desirous to men, even when she was a mere child. Men of all ages wanted her from the time she was young - the young men couldn't wait until she was old enough to court, while the old men wished they could get younger instead of older as time went by so that they might have a chance with Karintha.
The final sentence of the first paragraph intrigued me, saying that "this interest of the male, who wishes to ripen a growing thing too soon, could mean no good to her [Karintha]." I think that this is Toomer's way of emphasizing to his audience that what the men were doing was very selfish on their part. These men did not really care about Karintha the child or Karintha the future young woman. All they cared about was the possibility of a conquest; even if the victim would be young, at least she would be beautiful. Even those younger men who might have had a chance with her many years in the future did not have the patience to wait. Instead they "danced with her at frolics" when they should have been spending their time with women in their own age group. There was not any concern for Karintha, just for the needs and desires of these men, who should have had enough self-control that this would not have even been an issue. Instead of waiting for Karintha to develop from a child to an adult, these men felt the need to rush the process, to "ripen a growing thing too soon," an...
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...e world of Cane, with its various stories and poems about the African-American experience.
I felt sorry for Karintha in this story. She was a person that was judged her entire life - even in childhood - by her appearance and what that could mean to various men. The choices that she made as an adult are not really surprising when you consider the way that she was treated in her childhood and adolescence, almost as someone who could be sold to the highest bidder (which essentially became her life as an adult). Nowhere in this story is there a mention of Karintha's admirable intelligence or ability of some sort (unless you count stoning cows). Because all that is discussed is Karintha's beauty, I saw her as a very one-dimensional character. The men in this story were in a constant pursuit of Karintha's body- and unfortunately for her, in the end they won.
Jeanne de Jussie, a dedicated Catholic nun, recorded events that took place in Geneva during the Reformation as the official chronicler for the Saint Clare convent. Although littered with biases, Jeanne de Jussie’s experiences reflect broader trends during the Reformation; therefore, The Short Chronicle is a valid source and not merely a personal attack against the Protestants. Her experiences and beliefs, including those concerning celibacy, reflected those of many members of the Catholic Church during the Reformation. Also, her categorization of Protestants as ‘heretics’ was consistent with the practices of the Catholic Church. Although biased, her fears about Protestant views on celibacy and marriage were legitimate and consistent with
When Anna Close is first introduced in the novel, As We Are Now she is referred to as Mrs. Close. From what I gather, this was to represent a sort of formality between her and Caro because they were not yet acquainted. Not only this, but it also seems that it was Harriet and Rose's way of manipulating Caro to fear the worst out of Harriet's replacement. Caro knew better than to expect someone who would actually care for her, because of this she was surprised beyond belief when she met Anna.
Debate centers around the structure of Jean Toomer's introspective work Cane. Whether viewed as a novel or a collection of short stories and poems, the impressions are poignant and compelling. They are full of passion and depict a writer casting a critical eye towards himself and his surroundings. The work is often read as a "portrait of the artist as a young man" more specifically a black man making his way in the South. As such, Cane is suffused with quest imagery and on a number of levels the work functions as a young man's introspective search for himself, his race and his place within both.
The poem goes on to tell of the women, who "...haven't put aside desire/ but sit at ease and in pleasure,/ watching the young men" (Murray 837). This work obviously shows how the women lust after the attractive young men, and clearly are not in love; any one of these men could have been replaced with another attractive man and would have m...
Odysseus’s hubris leads him into many troubles and contrasts with all of the heroic deeds he is known for. As he returns home, he lands on the island of the Kyklopes. He insists that they meet with the unknown host, with the prospect of receiving gifts. His desire for more loot to bring back to Ithaka leads him and his men into trouble. They are trapped in the cave of the Kyklops, but Odysseus uses his wit to escape. Unfortunately, he spoils the victorious moment when he taunts at Polyphemos: “Kyklops,/ if ever mortal man inquire/ how you were put to shame and blinded, tell him/ Odysseus, raider of cities, took your eye:/ Laertes son, whose home’s on Ithaka!" (IX, ...
This paper examines the dangers that arise when cell phones are used at the same time as operating a vehicle. The paper will explore the following question of why this is a problem and why the research is important. The variables investigated are the use of cell phones while driving, whether speaking or texting, and the accidents and fatalities caused from the distraction. Data of the accidents and fatalities caused by drivers distracted by their cells phones is stated to research and further explores the age group and gender of the people involved into the accidents to uncover patterns. Possible outcomes of the implementation of laws prohibiting cell phone use while driving are discussed as well as the sampling measures used to survey and research the variables.
Without Odysseus’s various kinds of bravery in challenging situations, the hero would have surely perished. Odysseus faces obstacles, which require him to display valor in combat in order to over come these impediments. On the Land of the Kyklopes, Odysseus must utilize his courage to stab Polyphemos. Odysseus is aware of the fact the colossal monster he is about to infuriate could easily pulverize him, but he must be brave in order for his men and him to escape the beast’s cave. Another instance of this bravery comes during book XXIII when Odysseus has no other choice but to fight the dozens of suitors, whom out number his miniscule mob of men, to the death. In both scenes, Odysseus has the odds against him in battle. However, as a pending hero he understands he must be brave in combat to continue on his journey in pursuit to return home and save Ithica. Another type of bravery shown by Odysseus is his gallantry, which is defined as adventurous bravery. Throughout the epic poem, he makes various stops on alien islands without knowledge of what awaits inland....
It must be said that facts, which could give the answer to those questions were scattered all around the text. For instance, a phrase like “The man who gets her will be lucky. No one could find a nicer girl than that” and “such was the charm of her person” is perceived in a different way if to reread the story (De Maupassant 90). At first, one might suggest that future Mrs. Lantin was indeed a woman with high moral standards, but after considering her expensive possessions one could not help to conclude that she lied to her husband from the very beginning and all six years of their happy family life were not that “ideal” after all (De Maupassant 90). She was not that “young girl” who “seemed to be very ideal of that pure good woman to whom every young man dreams of entrusting his future” (De Maupassant 90).
In the original play, the problem lies with the parents, who have failed to educate their children on matters of sex and their bodies. This leaves their children ill prepared to deal with their sexual urges for one another. The adults attempt to mold their children into their own “ideal self-image” (Boa, Spring Awakening 35-36) They do all of this “in the name of morality, but in reality to satisfy personal desires.” (Boa, Spring Awakening 35-36)
Jane Austen, it appears, seems to be saddened by the decay of England's aristocratic social order. The study of her main character, Anne Elliot, and her innocent yet intelligent-like persona take her readers further into the core of her foundation of ethics, and the relation of these to the daunting traditions of her immediate family and surrounding social circle gives the reader a fresh look at the importance of class distinction and the clearly perceptible emptiness of the aristocratic society that, in actuality is believed to have existed in Austen's own life. A close assessment of the development of Austen's ideals through the course of her novels reveals the fundamental nature of the central character’s relationship to her family, and its direct relationship to the family's moral standpoint, as well as convincing evidence concerning Austen's own values.
Vengeance, the act of revenge upon someone who opposed somebody wrongly. This is a big theme throughout the movie Gladiator along with many others like; honor, loyalty, deceit, power, tragedy, and perseverance. Maximus Decimus Meridius, the main character, and protagonist, was once a proud and dignified general that loses his status and is thrown into the slave trade. He becomes a gladiator, a job that relates to his leadership and fighting capabilities. Maximus fights his way to the top and eventually gets his revenge on Commodus, the person who killed his wife and son. He also restores order and creates a democracy for Rome by killing Commodus. Maximus is given two personas in Gladiator. One persona is symbolized when he is on a battlefield
Evald has repeatedly espoused to her that he does not want children. Thus when she becomes pregnant at the age of thirty-nine, Marianne is in an incredibly difficult position: leave her husband and raise the child on her own, or abort the child and stay with her husband. Neither of these options are ideal; Marianne repeatedly elucidates that she wants to keep the child, and so the decision is not one she can make lightly. This brings to mind other sub-optimal conditions faced by prospective mothers throughout the semester; particularly, the situation of Lucy in Disgrace, pregnant with her rapist’s child, conjures similar quandaries. Neither of these women is a teenager unable to support herself and her possible offspring, but still, the question of impending motherhood is a challenging one. Wild Strawberries tends to portray motherhood in a negative light; motherhood does not seem a harbinger of joy and happiness, but rather a necessary evil that should not necessarily be undertaken. Sarah, Isak’s betrothed who eventually marries his brother, cradles what is supposed to be a newborn child, but is obviously only a facsimile, a doll. Isak’s mother, of advanced age, is frigid and cold towards him, unwilling to show the least bit of affection for her last remaining
In the situation of her following her head, she knows that she would be happy to be independent, but she would make her name deplorable and she herself unsociable, as seen with the treatment of the lonesome widow and Mademoiselle Reisz, both whom were ostracized by many. If she were to pursue love, she is gaining independence from her previous loveless marriage, but falling upon dependency of her new lover, which would make her dissatisfied in the long run. This is significant because it shows the tragic nature of the story, because no matter which way she she turns, there is a possibility for unhappiness, and that she would have to relinquish something because love and freedom are incongruent of one
As the author narrates through the poem she tells her audience about, the life of a young girl maturing through life, with the challenges of puberty talking over. For instance the opening stanza uses the innocence of a young girl, who life transitions with the fascinating works of puberty. Leading into (line 1) “the girlchild was born as usual”. Describes her being as any other girl born into this world. Continuing to (line 2-4) “presented dolls that did pee-pee and mature GE stoves and irons and wee little lipsticks the color of cherry candy”. Describes the girl innocence as she receives all these toys to play wit, or can also be interpreted into the role she will take as she grows older. Furthermore as the stanza ends, it speaks about
Jane Austen’s works are characterized by their classic portrayals of love among the gentry of England. Most of Austen’s novels use the lens of romance in order to provide social commentary through both realism and irony. Austen’s first published bookThe central conflicts in both of Jane Austen’s novels Emma and Persuasion are founded on the structure of class systems and the ensuing societal differences between the gentry and the proletariat. Although Emma and Persuasion were written only a year apart, Austen’s treatment of social class systems differs greatly between the two novels, thus allowing us to trace the development of her beliefs regarding the gentry and their role in society through the analysis of Austen’s differing treatment of class systems in the Emma and Persuasion. The society depicted in Emma is based on a far more rigid social structure than that of the naval society of Persuasion, which Austen embodies through her strikingly different female protagonists, Emma Woodhouse and Anne Eliot, and their respective conflicts. In her final novel, Persuasion, Austen explores the emerging idea of a meritocracy through her portrayal of the male protagonist, Captain Wentworth. The evolution from a traditional aristocracy-based society in Emma to that of a contemporary meritocracy-based society in Persuasion embodies Austen’s own development and illustrates her subversion of almost all the social attitudes and institutions that were central to her initial novels.