"Aurora Leigh"
The story "Aurora Leigh" is the story of a fictional woman poet. This story was Elizabeth Barret Browning's greatest achievement. This was the first major poem in English Literature in which the heroine, just like the author was a woman writer. This story had a lot to do with Aurora as a rising poet in a society that did not except woman as artists. Society set a restriction on women because of the role that was put upon them. Society basically sets the women into an imprisonment.
Aurora Leigh" tells the story of the development of a woman poet largely as the story of her struggle to understand how her life and art can accommodate love. Aurora Leigh envies male poets because they find it possible to write poetry for their wives and mothers. As a woman to be an artist means to live as a lone woman. To be a poet goes against all of the feminine nature. In a society that molds a woman into a housewife and nurturer, Aurora Leigh feels she cannot become the artist she knows she can become. With the restrictions put upon her she will not live a complete life, and without that complete life she cannot become a complete woman. Aurora feels that by not becoming a complete woman and dealing with all aspects that a woman should deal with, she cannot become a great poet.
One of the biggest portions of this story is the proposal of Romney to Aurora Leigh on her twentieth birthday. He proposes marriage to her and she is confused on what to t...
Annie [played by Aileen Quinn] is a story written by Martin Charnin about a little girl who was left for the doorstep of an orphanage when she was extremely little and goes on to live a miserable life of working at the orphanage. Until one day a person named Grace Farrel [played by Ann Reinking] came along and invited one orphan to stay with her and Oliver Warbucks [played by Albert Finney]. During Annie’s stay Mr. Warbucks realizes how much he likes Annie and wants her to stay. In a way to tell her he gives her a new locket. Without knowing, Annie doesn't accept the locket in result of her own was given to her by her parents before she had been given up. With this knowledge a search is sent out with a reward of $50,000. With
Grendel, as a character, has a much more complex identity than just a monster and a human. Some, such as Ruud, classify him as a mixture of three different characteristics, but alone, they tend to conflict with each other. By making the connection that Grendel represents immorality, the previous idea makes more sense, while simultaneously incorporating more aspects of the character into the analysis. In either case, Grendel represents much more than meets the eye, and provides a fascinating insight into
When her husband and children are gone, she moves out of the house and purses her own ambitions. She starts painting and feeling happier. “There were days when she was very happy without knowing why. She was happy to be alive and breathing when her whole being seemed to be one with the sunlight, the color, the odors, the luxuriant warmth of some perfect Southern day” (Chopin 69). Her sacrifice greatly contributed to her disobedient actions. Since she wanted to be free from a societal rule of a mother-woman that she never wanted to be in, she emphasizes her need for expression of her own passions. Her needs reflect the meaning of the work and other women too. The character of Edna conveys that women are also people who have dreams and desires they want to accomplish and not be pinned down by a stereotype.
The proposal, we presume, happens in the poem and the unwillingness we believe to be married, is also v...
Although Grendel is depicted as a hideous bloodthirsty beast because he eats the Danes at Heorot continuously, he has some characteristics of a human gone wild. Grendel possesses the ability to feel human emotions such as envy and fear. When the Danes were having a feast in Heorot, Grendel “had dwelt for a time in misery among the banished monsters, Cain’s clan, whom the creator outlawed and condemned as outcasts”(104-106). He feels envy towards the Danes for making him an outcast of society. He was jealous of the Danes that were having a great time together while he had to live a life of misery alone. Grendel feels fear as well as envy because “he was overwhelmed, manacled tight by the man who of all men was foremost and strongest in the days of this life”(787-789). During the battle between Grendel and the hero Beowulf, Grendel was unprepared for Beowulf’s fighting tactics. He, who usually is victorious after each attack in Heorot, did not expect to be defeated by Beowulf, which is shown because “his fingers weakened; it was the worst trip the terror-monger had taken to Heorot”(764-765). When Beowulf leaves his weapon and decides to wrestle Grendel, Grendel realizes that he is no match for Beowulf’s strength. He feared death just as human are afraid of death. An ordinary person would want to flee if he or she was being wrestled to the ground and about to die. Grendel felt like fleeing but Beowulf did not want to lose any opportunities to kill the villain and thus does the deed in one go. When he realizes that his end was near, “the dread of the land was desperate to escape, to take a roundabout road and flee to his lair in the fens”(761-763). Just as humans in their psychoanalytic development, Grendel had a fight or flight response. When he knew that he was going to die he immediately chose the flight response in which he could not do because Beowulf was much more powerful and aggressive. He does not let Grendel escape. Grendel’s pain is all the more acute because he is brought so close to mankind and yet always kept at an unbreachable distance from society.
In Chapter 8, Grendel exclaims, “I’m a machine. Like all of you. Blood-lust and rage are my character,” (Gardner 123). This profound statement establishes a connection between Grendel and the ambiguous “you,” the reader. The monster, though he confesses to his wrongdoing, asserts that readers are no better than he. Countless bible verses reiterate this concept: “For all have sinned,” (Romans 3:23) “[Humans] are all. .impure with sin,” (Isaiah 64:6). Gardner’s reminder to readers of mankind’s predisposition to sin earns pity for the monster. He expands on these sympathies by describing the nature of Grendel’s lonely existence. “But there was one thing worse,” Grendel states after discovering the dragon’s charm, “no weapon could cut me,” (Gardner 75). In this moment, nihilism overcomes Grendel; if fighting poses no danger, it has no purpose, and neither does he. Any reader who has had an experience which challenged his or her values cannot help but feel empathetic towards the purposeless creature. Perhaps more piteous, however, is the suggestion that Grendel has no choice in being “the dark side. . the terrible race God cursed,” (Gardner 51). The dragon condemns Grendel as “the brute existent by which [humans] learn to define themselves,” telling him that it is worthless to better his character (Gardner 72). It is not until after
Grendel is born a neutral being, perhaps even good, but nevertheless, without hate. The transition which he undergoes to become evil is due to misunderstandings between himself and humans and also meeting with a dragon who is questionably evil. As a young “monster”, Grendel knew nothing other than the cave he lived in and his mother who could not speak any distinguishable language. He was a playful creature who seemed to be like a “bla...
...n very human feelings of resentment and jealousy. Grendel was an unstable and saddened figure because of his outcast status. Though Grendel had many animal attributes and a grotesque, monstrous appearance, he seemed to be guided by vaguely human emotions and impulses. He truthfully showed more of an interior life than one might expect. Exiled to the swamplands outside the boundaries of human society, Grendel’s depiction as an outcast is a symbol of the jealousy and hate that seeks to destroy others' happiness and can ultimately cripple a civilization. This take on the outcast archetype ultimately exposes the Anglo Saxon people’s weaknesses, their doubts and anxieties towards the traditional values that bounded nearly every aspect of their life.
Grendel is the embodiment of all that is evil and dark. He is a descendant of Cain and like Cain is an outcast of society. He is doomed to roam in the shadows. He is always outside looking inside. He is an outside threat to the order of society and all that is good. His whole existence is grounded solely in the moral perversion to hate good simply because it is good.
As a result of the missions of good and evil forces is completely divergent to one another, there is continuously a battle stuck between the two. This equilibrium of good and evil rise and fall over time is never stable. The effects of good and evil are felt transversely all the sections of the world. The classic Beowulf makes an effort to illustrate both sides of these cultures of good and evil. It also conveys the eternal battle between the two. “Grendel, a monster who lives at the bottom of a nearby mere, is provoked by the singing and celebrating of Hrothgar's followers” (http://csis.pace.edu/grendel/projf981e/story.html). Beowulf, prince of the Geats, hears about “Hrothgar's troubles, gathers fourteen of the bravest Geat warriors, and sets sail from his home in southern Sweden” (http://csis.pace.edu/grendel/projf981e/story.html). In Beowulf, the author uses light and darkness to accentuate good and evil in the world.
Amanda could have married a more prominent man, but fell for the charm of Mr. Wingfield. Amanda’s regret is apparent through her remarks of her more promising callers and how one “…left his widow one hundred and fifty thousand dollars in Government bonds...
Grendel himself is a “fiend out of hell”, doomed to walk his entire life to work “evil in the world” (Heaney: Heorot Is Attacked: 114). He is an outcast of society who takes pleasure in makes people’s lives miserable, emphasizing his evil nature from birth. Grendel’s mother, another evil character spurred on by vengeance, is described as a “tarn-hag” with “savage talons” and a “brutal grip”, emphasizing her malicious nature (Heaney: Beowulf Fights Grendel’s Mother: 147). The dragon is provoked when Beowulf steals a cup from its treasure hoard, but the dragon’s fiery breath and blazing rage parallels the white-hot heat of hellfire, the ultimate source of evil. While the protagonist Beowulf provokes many of these evil characters, it is important to note that they all respond in rage and hatred, thus emphasizing their wicked
Though both Walt Whitman and Emily Dickinson were highly self-reliant and individualistic, he found importance in the “frontiers” and believed the soul was only attainable through a physical connection with nature, whereas she chose to isolate and seclude herself from her community in order to focus solely on her writing. In this analysis, I will look at excerpts from Walt Whitman’s Leaves of Grass and Emily Dickinson’s poems, “I’m ‘wife’— I’ve finished that”, “What mystery pervades a well!” and “I’ll tell you how the sun rose”, to contrast their representations of self-realization and domesticity and the implications of this domesticity on their gender.
...es to Lily that a woman cannot paint. The painting stands for the feminist representation of going against traditional beliefs and also suggests that a lack of a male in Lily’s life does not detract from it.
This, in fact, is an example of “dynamic decomposition” of which the speaker claims she understands nothing. The ironic contradiction of form and content underlines the contradiction between the women’s presentation of her outer self and that of her inner self. The poem concludes with the line “’Let us go home she is tired and wants to go to bed.’” which is a statement made by the man. Hence, it “appears to give the last word to the men” but, in reality, it mirrors the poem’s opening lines and emphasises the role the woman assumes on the outside as well as her inner awareness and criticism. This echoes Loy’s proclamation in her “Feminist Manifesto” in which she states that women should “[l]eave off looking to men to find out what [they] are not [but] seek within [themselves] to find out what [they] are”. Therefore, the poem presents a “new woman” confined in the traditional social order but resisting it as she is aware and critical of