The political and social turmoil, as well as the redefinition of party ideals in the early eighteenth century led to a very divided literary audience. Politically charged writing was on the rise, but it was no longer in the form of easily deciphered analogies, poems, and essays. Instead, writers of the eighteenth century surveyed the complexity of the political spectrum and wrote stories accordingly; no longer was there one “right” answer to questions of monarchy and British sovereignty. Instead, there were complicated issues to be explored and discussed among citizens, and authors wished to help further those discussions. Works during the eighteenth century fed into, or fed off of, the coffeehouse culture of the period; they could be read …show more content…
The narrator maintains a cool distance from the subjects of the story and readers are invited only to peer into the lives of the characters as opposed to joining them on their quests for love and success. Haywood explores the (sometimes fatal) ramifications of relentlessly pursuing self-interest without stopping to think about how it will affect oneself and others in the long run, especially concerning ambitious women. Alovisa is the first woman introduced to the audience, and one of the first things readers learn about her is that she is prideful. Haywood writes, “Aloisa, if her passion was not greater than the rest, her pride, and the good opinion she had of her self, made her the less able to support it; she sighed, she burned, she raged, when she perceived the charming D’elmont behaved himself toward her with no mark of distinguishing affection” (38). Neglecting the social ideals of her time, Alovisa takes it upon herself to aggressively pursue D’elmont as a suitor. It is her love letter to him, written anonymously, that sets off a chain reaction which continues to the end of the novel. Her unchecked self-interest causes immense problems for both herself and bystanders, and it eventually culminates in her death. Alovisa is not the only character blinded by her own ambition; D’elmont, too, shares part of the blame for the
Alyss concludes, “This marriage would please her mother, for her family’s sake” (Beddor 171). Alyss acts as a people pleaser when she accepts Leopold’s proposal. She doesn’t love Leopold, but accepts his proposal only to make her mother happy. Alyss has decided to no longer stand out and become like “every women” (Beddor 191). Alyss desires to conform and submit to ideas of society. She becomes normal and no longer stands out like odd Alyss. Mrs. Liddell exclaims “ The dress she had purchased months before, but which Alyss had always refused to wear it because she feared it would make her look normal”, Alyss now wears it ( Beddor 151). Alyss starts to dress like everyone in England. She no longer looks like a former Wonderlander, but becomes by all appearances a proper young
In the beginning of the novel, Alyss is characterized as dependent, loving, and imaginative. Throughout the story these traits mature and Alyss becomes more adult like but still is a little childish in certain scenes. One can say that the maturity that Alyss goes through affects herself later on in the story. During the story the
Galchen creates the character of her narrator to be very similar to that of the young narrator in “Araby” in a modern setting. In their youth, each narrator becomes infatuated and obsessed with someone who does not realize. The narrator of “Araby” falls in love with his friend Mangan’s sister, as seen in that he states that “when she came out on the doorstep [his] heart leaped” (123). He forms an obsession with her, as evidenced by the fact that he “had never spoken to her . . . and yet her name was like a summons to all [his] foolish blood” and in that “her image accompanied [him] even in places the most hostile to romance” (123).
For example, the narrator writes, “Though she was but seven years her husband 's senior, and he was only twenty-eight, she was already an old woman” (Wharton 57-58). The narrator paints an unattractive, unappealing picture of Zeena with hopes that the audience will deem her unfeminine and grotesque. Perhaps compared to the young Mattie Silver, Zeena appears to be much older than she really is. Since the narrator is a male, the female audience of this novel can especially sympathize with Zeena and take offense to attacks on Zeena’s appearance. Secondly, the narrator uses the words “narrow minded”, “ignorant”, and “bitter” to describe Zeena (Wharton 108-109). In this chapter, Ethan still feels burdened by her presence and calls her ignorant, even though she is aching from his adulterous actions. He is about to leave, yet he still desires to immediately escape Zeena. Even though he deems her as a burden and the bane of his existence, he finds it convenient to use Zeena’s illness as an excuse to ask a friend for money. This selfish act gives the audience a reason to see through Ethan’s hateful insults and sympathize with Zeena. Ethan’s harsh diction told through the biased narrator creates a false image of Zeena and shows the effects of the plaguing personality of Ethan
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.
Her lionhearted clothes reflected her valiant and strong attitude. However – Elisa Allen hid her true feelings. She was deceitful in interpersonal communication. Her tongue spilled bittersweet black smut like that of industrialized coal engines. However – it was compassionate, her concern and subtle behavior. A girl screaming to escape maiden life, but only knew it was disrupt order. “Her face was eager and mature and handsome; even her work with the scissors was over-eager, over-powerful. “The chrysanthemum stems seemed too small and easy for her energy.” Verily, she had the heart of a lion and the appearance of a virgin.
Here, Alyss learned that she would need to live up to the real world responsibilities that people have to live up to everyday. Once in England, she was staying with a family that constantly tormented her about her claims of living in Wonderland, which caused her to lose faith in the place where she grew up and had to treat her beliefs and childhood as if they did not exist in order to live a normal life. Alyss even said, “Yes, it was a solution… Become just like everyone else.” (148) She began to accept the life of a normal girl and took on responsibilities like getting married. “If she’d had time to think about it, Alice might have stopped herself, considering the idea too whimsical. But the words had a force of their own, and only after she said them aloud did she realize just how appropriate the idea was. ‘Let’s have a masquerade.’” (172) At this point in time, Alyss Heart, or Alice Liddell, had just begun to take on the responsibility that any young adult would take at her
In Edith Wharton’s powerful work Ethan Frome, she introduces two leading female characters and instantly creates a comparison of the two within the reader’s eyes. This, not coincidentally, is the same comparison the protagonist Ethan constantly faces and struggles with throughout the novel. On one hand, Zenobia, commonly called Zeena, Frome has been a long-standing part of Ethan’s life. Years of marriage, although not always happy, combined with her always declining health, cause Ethan to feel indebted and sympathetic towards her. While, on the other, Mattie Silver, a relative of Zeena walks into the life of the Frome’s, and with her brings a new feeling of life and vitality to which Ethan has never experienced before. Her appearance in his life sparks feeling of passion, which in turn leads to an awkward tension created in the household where Ethan, Zeena, and Mattie all reside. The foiling actions and characteristics of these two women underlie the main struggle within Ethan throughout the novel.
In this essay, Ellerby goes through and gives a brief but accurate summary of the short story. Then she gives her interpretations of what this story was supposed to mean. She finally talks about the techniques Susan Minot used in order to get the atmosphere and emotions she wanted the reader to experience. I agree with how Ellerby interprets this story and it will be evident throughout this paper. Because I agree with what this essay had to say, I will be able to use it as evidence to support my ideas.
The Shoemaker and the Tea Party by Alfred Young revolves around two bibliographies written about one of the last living participants of the Boston Tea Party, and the authors own interpretations of the events surrounding the Tea Party and the American Revolution as a whole. In this particular novel, Young explores what it means to rediscover history, and how history is continually redefined. Particular attention in the novel is given to public history, and how highlighting people otherwise lost to time can completely change how an event is perceived. Readers are given the opportunity to see the history behind the American Revolution through the lenses of an average man of that time. In this essay I will review the novel and the message that Young is conveying through it.
What do we learn about life in the 18th century and how successfully does the writer convey this information whilst telling us a good story?
Throughout “Araby”, the main character experiences a dynamic character shift as he recognizes that his idealized vision of his love, as well as the bazaar Araby, is not as grandiose as he once thought. The main character is infatuated with the sister of his friend Mangan; as “every morning [he] lay on the floor in the front parlour watching her door…when she came on the doorstep [his] heart leaped” (Joyce 108). Although the main character had never spoken to her before, “her name was like a summons to all [his] foolish blood” (Joyce 108). In a sense, the image of Mangan’s sister was the light to his fantasy. She seemed to serve as a person who would lift him up out of the darkness of the life that he lived. This infatuation knew no bounds as “her image accompanied [him] even in places the most hostile to romance…her name sprang to [his] lips at moments in strange prayers and praises which [he] did not understand” (Joyce 109). The first encounter the narrator ex...
Hill, Christopher. A. A. The World Turned Upside Down: Radical Ideas During the English Revolution. London: Temple Smith, 1972. Maus, Katherine. "
This literary analysis will go in depth about how Anna Banks develops Sepora as impulsive, how she uses point of view as part of her craft, and how the setting impacts the characters. It will also take a close look at how the theme is portrayed throughout
The eighteenth century witnessed a major revolution, in some ways more profound than the Civil War, the Printing Trade. It was a state of anarchy within which struggling writers, who came from the lower strata, were writing in journals, newspapers, magazines etc. Great consumption of these kinds of writings led to the formation of the Grub Street (a London Street inhabited by literary hacks such as writers of small histories, dictionaries and temporary poems. The term Grub Street is often used collectively for poor and needy authors who wrote for meager sums of money.) This popular culture, which in the view of historians is created, produced and consumed by people themselves, acquired an identity which it never had before. Moreover, it was a time of political strife and patriotism gave way to intense party feelings. Almost all writers could be bought; even the best of them, with a few exceptions, were in the pay or service of one party or the other. Literature became the handmaid of politics and of state-craft. It was at this time that writers like Swift and Pope wrote satires against hack writers, the tradition invented by Dryden in his poem ‘MacFlecknoe’ in which he has mocked and ridiculed writers whom he thought as worthless (Shadwell, Ogilvy etc) and exalted worthy writers of natural poetic talent (Fletcher, Ben Jonson etc).