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Irony in roman fever important
The theme of roman fever
Irony in roman fever important
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When stepping back in ones everyday life to evaluate friendships throughout the course of lifetimes, one can’t help but notice how little is actually know about even the closest of friends. In Edith Wharton’s story "Roman Fever” written in 1934, one discovers how true this statement actually is. Throughout the course of this short story, the reader learns that no matter how long a friendship lasts, it is possible that ones true identity or deepest secrets are often kept hidden. In “Roman Fever”, Wharton effectively uses symbolism, foreshadowing, and irony to portray a lifetime of deception between two intimate friends.
This short story takes place in Rome, which symbolizes something different for each of the main characters: Grace Ansley and Alida Slade. In their younger years, they both spent time in the city of Rome. Both women grew up living across the street from one another, and continued to do so all through their youth, as well as through their married lives. Now later in life, they have met up again in Rome at a hotel while on trips with their daughters: Barbara Ansley and Jenny Slade. While their daughters are out on dates for the afternoon, the two mothers enjoy lunch at a restaurant that overlooks the Colosseum. Mrs. Slade explains to Mrs. Ansley over their lunch “What different things Rome stands for to each generation of travelers. To our grandmothers, Roman fever; to our mothers, sentimental dangers – how we used to be guarded! – to our daughters, no more danger than the middle of Main Street. They don’t know it – but how much they’re missing!” (123). For Mrs. Ansley, Rome represents something entirely different: a battlefield where the two women fought for the man they both loved, Delphin Slade. She dare not share ...
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... it to you, I suppose. At the end of all these years. After all, I had everything; I had him for twenty-five years. And you had nothing but that one letter that he didn't write" (128). Whorton ends this story on an even more ironic note when she has Grace proclaim in the last line “I had Barbara” (129).
Through the use of symbolism, foreshadowing, and irony Edith Wharton is able to showcase that sometimes it takes a lifetime of deception, to find out the truth of who your friends really are. That being said, it is not until the very last line of the story, that the reader discovers the one truth that will change Mrs. Slade and Mrs. Ansley’s friendship forever: Barbara is in fact, Delphin’s love child.
Works Cited
Wharton, Edith. "Roman Fever” The Norton Introduction to Literature. Shorter 11th ed. ED. Kelly J. Mays. New York: Norton, 2013, pp.118-128. Print.
Edward Bloor takes on a challenge when he attempts to make the reader empathize with people that he had intentionally tried to make the reader dislike earlier in the story. This is a challenge because i...
I am a sassy girl. The Early History of Rome: Books I-V of The History of Rome from its Foundation. Trans. Aubrey de Selincourt. Intro.
...commodiousness of the private houses is, that the ancients, like the modern population of Rome and Naples, lived more abroad than in the house" (292). The painting on the facades of the palaces of Genoa are not described in visual detail, which may have been one approach, but instead prompt an argument about the institutes of art and the nature of public demand (306). A visit to the Museo Capitolino in Rome breeds the remark that "plunder was ever the principle of the Romans" (115). She solidifies the Coliseum in the reader's memory as "the last and noblest monument of Roman grandeur, and Roman crime" (125). A memorable representation of Naples, encountered as her first view of the city from some distance, is Morgan's imaginative construct of it as "some fabled city of the east, the dream of Arabian poets" (278). In this way her Italy is very much a mediated Italy.
Eliza Wharton has sinned. She has also seduced, deceived, loved, and been had. With The Coquette Hannah Webster Foster uses Eliza as an allegory, the archetype of a woman gone wrong. To a twentieth century reader Eliza's fate seems over-dramatized, pathetic, perhaps even silly. She loved a man but circumstance dissuaded their marriage and forced them to establish a guilt-laden, whirlwind of a tryst that destroyed both of their lives. A twentieth century reader may have championed Sanford's divorce, she may have championed the affair, she may have championed Eliza's acceptance of Boyer's proposal. She may have thrown the book angrily at the floor, disgraced by the picture of ineffectual, trapped, female characters.
Lefkowitz, Mary R., and Maureen B. Fant. Women's Life in Greece and Rome. Baltimore: The John Hopkins University Press, 2005.
The Roman Way is essentially a collection of letters, poems and essays from some of the most famous literary minds of the ancient Roman culture. Edith Hamilton is attempting to show us a side of Rome that was previously unseen. She uses these stories to try and explain what the ideas, attitudes and beliefs are that make up the “Roman Way.”
Favro, Diane G.. The urban image of Augustan Rome. Cambridge: Cambridge University Press, 1996. (266)
In Dante’s Inferno, Cervantes’ Don Quixote and Austen’s Pride and Prejudice, the protagonists’ relationships with their companions becomes an essential subplot within each text. Their relationships are crucial in order to complete their journey and in some cases complete each other. In addition, there are many characteristics in each text that are unrealistic representations of life. For instance, the environment of hell the Inferno, Don Quixote’s fictional world, and the instant marriages in Pride and Prejudice are all things that are not typically seen in real life. These unrealistic characteristics affect how each relationship develops, however, these factors do not take away from the significance of each relationship. In each text, the lucrative ambitions of the characters are initially the motive of many relationships rather than the desire for true companionship. A major part of the relationships development is how the characters’ companionships transition from ones that are based on individual ambitions to ones that are built on the desire for intimate relationships.
By illustrating the negative effects of deception in relationships in the play Romeo and Juliet, Shakespeare shows how important honesty is in
In Kleist’s novella The Marquise of O, the narrative depicts the account of the Marquise of O’s, a young Italian window and a “lady of unblemished reputation”(Kleist 68), sudden impregnation and her subsequent attempts to solve the question of the paternity of her child. Through the contrasting interactions between the characters from the Marquise’s estrangement with her family to her eventual reconciliation, Kleist utilizes the search for her unborn child’s father to provide a social commentary on how tensions of uncertainty complicate the search for truth and identity within established gender relationships and traditional social constructs.
"The Romans." The Classics Pages: Antony Kamm's '': 5.3 The Place of Women. N.p., n.d. Web. 05 Nov. 2013.
When women are kept in their classical role of mother and caretaker, all is well and their lives are simple. Children relate positively to their mothers in this typical setting; while Dantés was in prison, during a time of distress, he remembered something his mother had done for him. For example, Dumas writes, “He remembered the prayers his mother had taught him and found meanings in them which he had formerly been unaware.” (41). Mothers teach their children to the best of their ability, evidenced in Dantés, as well as when Caderousse says Mercédès is instructing her son, Albert. It is in these moments that a mother’s love, compassion, and necessity are revealed. Lives are calm and enriched as long as women are in their niche. This includes non-maternal nurturing roles, for example, Mercédès attentiveness to Dantés father and Valentine’s special ability to care for Nortier. This loyalty is valued and shown as essential for the stability of life. Though The Count of Monte Cristo depicted women as best suited to the home, they intermittently stepped further out of that r...
... J.P.V.D. Roman Women: Their History And Habits. New York: The John Day Company, 1963.
Edith Wharton’s books are considered, by some, merely popular fiction of her time. But we must be careful not to equate popularity with the value of the fiction; i.e., we must not assume that if her books are popular, they are also primitive. Compared to the works of her contemporary and friend, Henry James, whose books may seem complex and sometimes bewildering; Wharton’s The Age of Innocence appears to be a simplistic, gossipy commentary of New York society during the last decade of the 19th century*. Instead, it is one man’s struggle with the questions of mortality and immortality. Wharton’s characters, settings and the minutiae of social rituals, manners, speech habits, dress and even flowers help her expose the mortal and immortal. But her adroit contrasts and comparisons with mythology elevate her fiction to the heights of sophistication.
The two plays deal with similar issues of deception and hypocrisy present in the society and how people wear masks in order to conform to the social norms of their respective societies. Both the authors, Henrik Ibsen and Moliere have made effective use of ‘deception’ in order to bring their ideas and views through to their audience.’ Ghosts’ is a perfect example of a realistic play which attacks the hypocrisy present in the society and in its value systems. Ibsen therefore was known as the father of modern theatre. Tartuffe was written by Moliere in the age of reason. During this period writers usually wrote in a common genre which was known as the comedy of manners. As a form of satire, the genre of comedy was aimed at ridiculing human vices and follies in order to bring about a change in the society.