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Short note on the impact of puritanism on English literature
The analysis of female characters in literature
Short note on the impact of puritanism on English literature
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As described above, in Anna Christie and Desire under the Elms, O'Neill shows strong resistance to paternity based on Puritanism, and he writes a prostitute lady to break it. In the 1920s, he was a writer with a rebellious spirit that confronts existing religions and values based on it. However, we cannot find such a spirit from the works written in the 1940s. From the Iceman Comes that he says it is the most outstanding play in the past work and special one for him, we can find the foolishness of having a dream and hope. About this play, Mr. Barlow argues that O’Neill’s view of life can be seen that death is the only hope. That is the final thought of the great playwright O'Neill. It seems a pessimistic view rather than what resulted from …show more content…
In addition, He argues that its not only a coincidence because they also have similarities in the way of behavior from an unsettled state of mind. However, O'Neill frequently used surrounding people and his family as a model of the play, and his mother Era who is the source of Mary is also shown many times as a model. That is to say, it is not unusual just to see similarity with Mary. However, as we spread this consideration from the viewpoint of similarity with other plays, we can see the singularity of Nina. For example, there is a similarity between Nina and Anna who appears in Anna Christie. Nina look back on the past when she was a war nurse and says “For giving my cool clean body to men which hot hands and greedy eyes which they called love! Ugh!” At this scene, she confesses shamelessly that she had sexual intercourse with an unspecified number of men. Her figure here strongly overlaps with Anna who declare her sexual past with …show more content…
When Nina cheat on husband and notice that she loves Ned, she says “I’ve loved him ever since that first afternoon…then love came to me…in his arms…happiness!” From this description, it is clear that she realize love after having done sexual activity. Her figure here completely matches with Abbie who seduced Eben to gain sperm and result in loving him. Also, there is a strange match in terms of killing their own children. Looking more closely to the similarity with other heroines in other works, we can see similarity with Ella of All God’s children Got Wings in terms of suffering in marriage with unwanted husbands. Besides that, in terms of intense maternity, it can be pointed out that it is similar to Cibel in The Great God Brown, also it can be said that Nina is similar to Christine in Mourning Becomes Elektra in terms of murderous intent to her husband. In this way, Nina has a lot of features of the heroines of plays O'Neill. From this, we can consider Nina as a memorable female character that represent all heroines in O'Neill’s
John Ruston Pagan’s book, Anne Orthwood’s Bastard, is split into sections describing the different components of sex and law in early Virginia. Pagan describes these components through the story of Anne Orthwood, John Kendall, and their bastard son, Jasper. Anne Orthwood was born an illegitimate child. There was much shame and disgrace for illegitimate children. Although illegitimacy made Anne’s life especially hard, she also faced the same pressures as other members of her generation. Her generation was dealing with shortages of land and labor; increasing prices, rent, and unemployment rates; and declining wages. These struggles caused many people to emigrate from Britain to the Americas.
Over the course of history there has been numerous works of literature which presented the reader with great descriptions of story characters and their overall personalities and one of the most prevalent examples of such use of character depiction is shown in the story “A New England Nun,” written by Mary E. Wilkins Freeman. In this short story, Freeman is able to illustrate a woman who is struggling with the commitment of marriage after waiting fourteen years for her fiancé Joe Dagget to return from Australia while also maintaining a lifestyle that involves monotonous, domestic activities in her home. However, more importantly, Freeman is able to clearly establish the character Louisa as someone who is suffering from obsessive compulsive disorder
A common trait for Willa Cather's characters is that they possess a certain talent or skill. This art usually controls the lives of these characters. According to critic Maxell Geismar, Cather's heroines who possess a skill often either do not marry or marry men whom they dominate; if they do marry the marriage is without excitement because their passion is invested in their art. In a sense, Geismar accuses Cather's heroines of sacrificing their marital roles for their art (172). However, marriage is not the only aspect that raises the subject of sacrifice for Cather's protagonists - there is also the issue of family. This is because a woman artist, or any woman, is judged not only on her art but also on her personal life, especially by her submissiveness to man in the role of daughter, wife and mother. If a woman is unable to commit towards one of these roles, she is blamed for renouncing her expectant role for something that is associated with a man's world - talent. Many readers judge Thea Kronberg and Lena Lingard according to these female roles, and hence place the accusation of sacrifice upon them. Thea Kronberg and Lena Lingard in Willa Cather's The Song of the Lark and My Antonia, respectively, are accused of sacrificing too much for their art because they apparently choose to overlook their families and love relations in respect to their art. On the surface, it appears as if Thea sacrifices her relationship with her mother and her love with Fred Ottenburg in order to achieve her musical desires. Similarly, Lena is depicted as a female who sacrifices her bond with her mother and her prospects for marriage for the life of an indepe...
The audience will understand that Mrs Johnstone is more capable and has a better understanding of the fact that young boys are sexually curious, and she does not suppress them. As the play continues, we see Mrs Johnston as a more approachable mother, rather than viewing her cruel mother. We tend to sympathise with the difficulty. We see her handle her house full of children with continuous forbearance and with tolerance.
To further support O’Connor’s role as a main character, Barnes devotes much of the story to describe his effeminate mannerisms. Barnes describes the doctor as someone who carried his hands “like a dog who is walking on his hind legs,” we learn because he would pray he would “wake up in the morning without finding [his] hands on [his] hips” (pp. 32, 130). As an affirmation of his sexuality, and possibly the reason the other women in the story relate to him so well is that O’Connor considers himself “the other woman that God forgot” (p. 143).
Contrastingly, Mrs. Darling, his wife, is portrayed as a romantic, maternal character. She is a “lovely lady”, who had many suitors yet was “won” by Mr. Darling, who got to her first. However, she is a multifaceted character because her mind is described “like the tiny boxes, one within the other, that come from the puzzling East”, suggesting that she is, to some extent, an enigma to the other characters, especially Mr. Darling. As well as this, she exemplifies the characteristics of a “perfect mother”. She puts everything in order, including her children’s minds, which is a metaphor for the morals and ethics that she instils in them. Although ...
An old saying is to never judge a book by its cover. Some stories require deeper thought than just what is offered to the readers on the surface. Many people may suggest that these kinds of stories are somewhat challenging; however, I deeply enjoy discovering the true meanings behind them. One book I recently analyzed for my AP English IV class was East of Eden by John Steinbeck. I have never stumbled upon a book that emphasizes and illustrates the classic controversies of human nature, as well as East of Eden. The book projects an excellent and surprising plot, motifs, themes and symbols.
Thank you, Mr. Sziraky for your submission to Leduc's weekly. Unfortunately, the board of editors decided not to use your story "In The Mist" in the next edition of Leduc's weekly. Although we are not using your story we would like to offer you some advice to help advance the story and also tell you what areas you are strong in. The board would like you to take this advice into consideration.
Ironically for the time period, female characters in the book represent Christian symbols, sacrificing themselves for what they love. Raskolnikov’s own sister, Dunya, acquires a very Christ-like position due to her extensive self-sacrifice. Having grown up in the same environmental situations as Raskolnikov, there is still a distinctive difference in their personalities. This difference allows Dunya to be adored by those around her as contrasted with Raskolnikov who, when at school, was mentioned to have “no friends…” and “nobody liked him” (63). Here Raskolnikov’s differentiation from society is clearly demonstrated. Dunya takes her role a step further and is described as someone who “demands to accept torment for someone else’s sake as quickly as possible.” (567). The connotation of the word “demands” conveys her self-brought on obligation to undergo hardships. The word “quickly” demonstrates just how frenzied her need to suffer for others is. An akin female who also craves suffering is Sonya. This is most clearly validated by her occupation as a prostitute. A prostitute typically sacrifices all they physically have for the sake of others. Her life is meager...
The Modern Breakthrough of Scandinavian literature, which occurred at the latter end of the 19th century, was a direct reaction to the Romantic ideas of idealism and emotion so heavily emphasized throughout the previous century. Characterized by presenting realism and naturalism, the movement brought social issues, like the drive for equality and personal liberty, to question. August Strindberg and Henrik Ibsen brought such ideas to the forefront of literature in “The Father” and “A Doll House.” Multiple characters in the plays are on journeys towards seeking their personal liberty, but the theme is arguably most exemplified in said journeys of the two stories’ main female character. Using the medium of their female leads (Laura and Nora, respectively), Strindberg and Ibsen diverge in their construction of the drive for personal liberty, where Laura represents a negative dismantling of the traditional family and Nora conversely represents the positive progressive catalyst in her drive for social equality and personal liberty.
Deception, deceit, and a false appearance all describe a lying technique known as a facade. Presenting the facade to Winston and Julia of a member of the Brotherhood, O’Brien successfully convinces them of his hatred towards the Party. During their meeting with O’Brien, Winston describes O’Brien as his “whole life was playing a part, and that he felt it to be dangerous to drop his assumed personality even for a moment” (Orwell 170). Winston refers to O’Brien’s obvious discomfort and strange behavior, believing that he is placing a facade of a Party member while he did the opposite. The entire quote properly describes a facade using the key phrases of “playing a part” and “assumed personality.” O’Brien directly lies to Winston and Julia through
Oates's variant introduces Anna as severely depressed. Chekhov's version presents the character Anna Sergeyevna as risky and more open to cheating. Oates proclaims, “...[Anna] drew a razor drew a razor blade lightly across the inside of her arm, near the elbow, to see what would happen” (Oates 230). On the other hand, Chekhov mentions “Anna Sergeyevna was growing more and more attached to him” (Chekhov 223) and that “[...Anna Sergeyevna began coming to see him in Moscow” (Chekhov 222). Evidently, the two women in the stories have contrasting opinions on their love life. Anna from Oates’s version resorts to self harm and feels overly guilty whereas Chekhov's Anna Sergeyevna appears to do as her heart pleases in disregard to her marriage. Even though both of the Annas are reportedly guilty, they differ in how they take the matter into their own hands. Anna’s unstable emotions are a cause for a downfall in the story, therefore making Chekhov's version more
...emale experience and the male lover remains nameless in the story. Anna's views, thoughts, and emotions were described in this story which gave the reader and female's point of view. She presented the story in a fragmented style to convey the emotional roller coaster that Anna was feeling. Anna experienced confusion, chaos, doubt and lack of identity. She struggles to find herself and what she wants. The story was emotionally inclined and was presented straight forward, strong and got to the pit of the situation. Anna felt shame and expressing that an affair is not alright and is unethical. Because of how the story was presented in raw details of realistic emotions, Oates version was definitely written more effectively and was interesting compared to Chekhov's version.
In the novel “Moby Dick” by Herman Melville, the author gives the reader insight into all of the characters and his own thoughts and soul throughout the story by associating each character with different moods and metaphors. With this insight one can determine what the probable reactions of these characters could be to a situation, and what they would feel. Art can have a powerful impact on an individual, and for instance Ahab would probably relate to the painting Right Wing Hell of The Garden of Earthly Delights created by Hieronymus Bosch. Melville himself would see himself in the painting The Vexations of the Thinker by Dechirico, while Ishmael would prefer Duchamp’s sculpture The Bride Stripped Bare by her Bachelors Even. Each work of art
Plants arch over Ophelia’s corpse, literally “aslant” as Shakespeare intended (Act IV, scene VII), as though about to contain her with next Spring 's resurgence of life. The inclusion of pansies around her wrist, themselves signifying love in vain, are mocking, for while Ophelia and Hamlet 's doomed romance is pain enough, the visual way in which the river has engulfed her only further cements the idea of a vain loss, departing from the traditional pathos consistently seen in the depiction of beautiful young women as victims; sympathetically virtuous, pious, and likeable. Though anecdotal, many perhaps would have liked to see Ophelia metamorphose into a mermaid or an angel, something beyond her apparent entropic destiny, yet Millais refuses to gift her any of this......, implying the process of constant decay and germination is more interesting than how we would like to mystify this woman in our heads. Thus, Millais here is incredibly refreshing, bringing to light how boring and pathetic... notions of femininity