Sympathy For Characters in O. Henry's Furnished Room and Chekov's Vanka
Two Works Cited The narrators in both O. Henry's "The Furnished Room" and Anton Chekov's "Vanka" view their protagonists as desperate and helpless in a world of cold realism. With tones rich in sympathy, the narrators in both stories take pity on their characters. Both characters have yet to understand that realistically they have little control of the dismal life they lead; instead, their surroundings have more of an impact on their life. Trapped in a harshly ironic and deceitful world, the characters become pitiable symbols in a world numb to their presence.
Transforming the protagonists into symbols that touch on everyday human norms (such as unending faith and one's lodgings), the narrators promote a sense of empathy. While the young man in "The Furnished Room" represents the personified room in which he lodges, Vanka resembles a sad angel in his purity and innocence. For instance, like the worn-down room in which the young man stays, his well-being depends on people and events that pass him by. The room's personified descriptions reflect all of the young man's emotions: the young man is emotionally "chipped and bruised," (41) and "desolat" (41) like the constantly abandoned room. Also, like the room the protagonist remains anonymous, as if he means little compared to his surroundings and his lost love (all of which are given names). Vanka, though also enduring a rough life, instead possesses a beam of hope in his innocence. Kneeling before his faithful letter to his Grandfather (as if to pray), Vanka resembles a sad angel. Inspite of his constant neglect and abuse, Vanka holds steadily to his faith and wishes his Grandfather "all the blessings...
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...ness of mankind. The idea of diminshing hope for both characters is the narrator's final sympathy-balming attempt.
The manner in which the narrators present human nature--the dark side of a merciless world in which the characters live--as well as the naive and pathetic nature of both characters, render two stories thirsty for empathy. The naivity that both characters have towards the deceit in their surroundings, as well as their lack of control in events which they endure, cause both characters to be helpless in a cruel world.
Works Cited
Chekov, Anton. "Vanka." Understanding Fiction. 3rd ed. Eds. Cleanth Brooks and Robert Penn Warren.
Englewood Cliff, NJ: Prentice-Hall, 1979. 46-49.
Henry, O. "The Furnished Room." Understanding Fiction. 3rd Edition. Eds. Cleanth Brooks and Robert Penn
Warren. Englewood Cliffs, NJ: Prentice-Hall, 1979. 39-43.
...bsequently Anne Zahalka successfully explores her interest in expressing the psychological space of the hotel room through the emotional states of the guests, achieved through her carefully constructed compositions and devices which create and emphasise the emotion evident.
When an author romanticizes a piece of literature, he or she has the power to convey any message he or she wishes to send to the reader. Authors can make even the most horrible actions, such as Dustan murdering ten savages in their sleep and justify it; somehow, from both the type of mood/tone set in this piece of literature, along with the powerful word choice he used, Whittier had the ability to actually turn the tables on to the victim (i.e. the ten “savages” who were murdered in their sleep). “A Mother’s Revenge” by John Greenleaf Whittier, is a prime example of how authors can romanticize any situation into how they want to convey their message.
Often, when a story is told, it follows the events of the protagonist. It is told in a way that justifies the reasons and emotions behind the protagonist actions and reactions. While listening to the story being cited, one tends to forget about the other side of the story, about the antagonist motivations, about all the reasons that justify the antagonist actions.
The harsh reality is one which hit everyone in America in the 1930. People found work hard to find and crime was on the uprise. This meant, unfortunately, that innocent people were the easy prey and, as we see in the Of Mice and Men, there were plenty of characters that were easy prey. Of Mice and Men characters have and do thing that make them vulnerable in way which do cause trouble. In this essay, that harsh reality and easy prey will be shown through to see which characters are the most vulnerable.
Through the Prologue to the Pardoner's tale, the character of the Pardoner is revealed. Although the Pardoner displays many important traits, the most prevalent is his greed. Throughout the prologue, the Pardoner displays his greed and even admits that the only thing he cares about is money: "I preach nothing except for gain" ("Pardoner's Tale", Line 105). This avarice is seen strongly in the Pardoner's tale as well. In the Pardoner's tale, three friends begin a journey in order to murder Death. On their journey, though, an old man leads them to a great deal of treasure. At this point, all three of the friends in the tale display a greed similar to the Pardoner's. The three friends decide that someone should bring bread and wine for a celebration. As the youngest of the friends leaves to go buy wine, the other two greedily plot to kill him so they can split the treasure only two ways. Even the youngest decides to "put it in his mind to buy poison / With which he might kill his two companions" (383, 384). The greed, which is evident in the character of the Pardoner, is also clearly seen in the tale.
In the beginning of The Pardoners Tale he talks about his qualifications and what he does, talking to several people. The pardoner tries to use his story to get the audience to give him money for their greedy sins. Then he tells a story about three young men who find an old man and they talk about age, the younger kids say the don’t want to grow old like the old man. The old guy tells the kids that they can find death by a tree. Excited to see death, the kids go to the tree and discover a pile of gold coins instead. Excited they decide to draw lots to decide which one would go down to the store, and who gets to stay with the money. The one who lost would have to go down to a store and buy some bread and wine that is later poisoned. Meanwhile, back at the gold, the other two conspire to kill the guy that is walking to the store by stabbing him to death, so instead of splitting the money three ways there would be more money apiece by splitting it two ways between them. So when they guy who walked to the sore gets back they stab him (he dies). Then the two drink the poisoned wine afterwards and they died from the poisoned wine.
'Young Goodman Brown,' by Hawthorne, and 'The Tell Tale Heart,' by Poe, offer readers the chance to embark on figurative and literal journeys, through our minds and our hearts. Hawthorne is interested in developing a sense of guilt in his story, an allegory warning against losing one's faith. The point of view and the shift in point of view are symbolic of the darkening, increasingly isolated heart of the main character, Goodman Brown, an everyman figure in an everyman tale. Poe, however, is concerned with capturing a sense of dread in his work, taking a look at the motivations behind the perverseness of human nature. Identifying and understanding the point of view is essential, since it affects a reader's relationship to the protagonist, but also offers perspective in situations where characters are blinded and deceived by their own faults. The main character of Poe?s story embarks on an emotional roller coaster, experiencing everything from terror to triumph. Both authors offer an interpretation of humans as sinful, through the use of foreshadowing, repetition, symbolism and, most importantly, point of view. Hawthorne teaches the reader an explicit moral lesson through the third person omniscient point of view, whereas Poe sidesteps morality in favor of thoroughly developing his characters in the first person point of view.
Human nature is a conglomerate perception which is the dominant liable expressed in the short story of “A Tell-Tale Heart”. Directly related, Edgar Allan Poe displays the ramifications of guilt and how it can consume oneself, as well as disclosing the nature of human defense mechanisms, all the while continuing on with displaying the labyrinth of passion and fears of humans which make a blind appearance throughout the story. A guilty conscience of one’s self is a pertinent facet of human nature that Edgar Allan Poe continually stresses throughout the story. The emotion that causes a person to choose right from wrong, good over bad is guilt, which consequently is one of the most ethically moral and methodically powerful emotion known to human nature. Throughout the story, Edgar Allan Poe displays the narrator to be rather complacent and pompous, however, the narrator establishes what one could define as apprehension and remorse after committing murder of an innocent man. It is to believe that the narrator will never confess but as his heightened senses blur the lines between real and ...
The central characters in both “The Yellow Wallpaper” and A Doll’s House are fully aware of their niche in society. In “The Yellow Wallpaper”, the narrator’s husband believes her illness to be a slight depression, and although she states "personally, I disagree with their ideas,” she knows she must acquiesce their requests anyway (Gilman 1). She says, “What is one to do?” (Gilman 1) The narrator continues to follow her husband’s ideals, although she knows them to be incorrect. She feels trapped in her relationship with her husband, as she has no free will and must stay in the nursery all day. She projects these feelings of entrapment onto the yellow wallpaper. She sees a complex and frustrating pattern, and hidden in the pattern are herself and othe...
This essay has compared the differences between the societies in these two novels. There is one great similarity however that both make me thankful for having been born into a freethinking society where a person can be truly free. Our present society may not be truly perfect, but as these two novels show, it could be worse.
The struggles both characters face demonstrate character development and contribute to the themes of the stories. Both short stories prove to be literally effective in that they disclose the main themes at the outset of each story. Although the themes may alter over the course of the stories, they are clearly defined in their respective introductions.
Beginning about 1910, religious and civic organizations in the U.S. developed a nationwide campaign against both the immorality of prostitution and its relationship to sexually transmitted disease. On the federal level, Congress passed the White Slave Traffic Act forbidding the interstate transport of women and girls for immoral purposes. On the local level, many anti-prostitution laws were passed. Some laws reflected the belief that prostitutes were misguided, coerced unfortunates who needed rehabilitation and protection from procurers. Others represented the view that prostitutes were morally or mentally inferior human beings. Although both kinds of laws still exist, the latter type is enforced today.
Opponents argue that, prostitution has health effects and that is the reason as to why it remains illegal in most parts of the United States. Prostitution has social economic, physical, and a number of mental implications. The prostitutes and their clients are subject to a nu...
Greed, the most interpreted characteristic of the Pardoner began to be weaved in to the story beginning in his prologue through to the text after his story. The Pardoner discloses another trait that is displayed by himself and the characters in his tale concluded to be hypocrisy. The reader was able to divulge in another characteristic of the Pardoner including arrogance. The Pardoner himself was the ideal representation of the characters Chaucer wrote
Chekov, Anton. "Vanka." Understanding Fiction. 3rd ed. Eds. Clanth Brooks and Robert Penn Warren. Englewood Cliffs, NJ: Prentice Hill, 1979. 46-49