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Faulkner's influence on life
The theme of Faulkner's works
Faulkner's influence on life
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“The Bear” is a book written in 1942 by William Faulkner that deals with the life of an ancient bear named Old Ben. Old Ben affects the lives of most hunters that know him, and most importantly it he has a great influence on Ike and the wilderness. “The Bear” is not only about the life of Old Ben, but it is also about the wilderness, racism, possession of land, and the meaning of humanity. The interpretation of wilderness Faulkner present in his book is that the forest represents an essential connection among liberty and humanity (Radloff). Through allusion, William Faulkner uses imagery and symbolism to connect liberty and humanity with the wilderness.
William Faulkner, with the successful use of imagery, explains that the only way humans can achieve true freedom is by connecting with nature. In “The Bear,” wilderness consists of “big woods bigger and older than any records of documents [available]” (Faulkner 185), meaning that the only way humans can achieve freedom in nature is by connecting with it, not by terminating it. Connecting with nature allows humans to discover the intimate deliverance that nature offers (Vickery 211). Ike seeks this deliverance when he “enters his novitiate to true wilderness” (Faulkner 189). At first Ike’s purpose is to be the human who “hunts [and kills] the bear” (Faulkner 204). However, once he obtains a deeper connection to the wilderness through Old Ben, his idea change. Ike, who once felt that all he needed in life was “humanity to survive” (Faulkner 186), begins to have a change of heart when he realizes that he shares a connection between him, Old Ben and nature. The relationship between Ike and Old Ben begins the first time the bear makes an appearance, Ike “looking at [Ike]… without an...
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... the complexity of passion, lust, hate, and fear which drives the heart” (Faulkner 250) away from true freedom.
The allegory of man’s arrogance in his quest to be god-like causes him to lose their freedom (Perluck). William Faulkner, through allusion, uses imagery and symbolism to show that the only way man can attain true liberty is by connecting with nature. Ike is able to achieve this connection by discovering methods to connect with nature, which he benefits from by also obtaining a better morality.
Works Cited
Vickery, Olga. The Novels of William Faulkner: A Critical Interpretation. Bear, Man, and God. Ed, Francis Lee Utley, Lynne Bloom, Arthur F. Kinney, New York (1964); 323-327.
Vickery, Olga. The Novels of William Faulkner: A Critical Interpretation. Bear, Man, and God. Ed, Francis Lee Utley, Lynne Bloom, Arthur F. Kinney, New York (1964); 209-212.
The first idea that Mr. Quentin presents is the negative aspect of freedom. He believes that “extensive freedom makes people miserable” (Mr. Quentin Crisp). To prove the argument, his home country United Kingdom is used as an example. The people mentioned in the speech are capable of identifying that their lives are miserable, though are not capable of making a direct connection between the reason and the result (freedom and miserable life).
“But what is freedom? Freedom from what? There is nothing to take a man's freedom away from him, save other men. To be free, a man must be free of his brothers. That is freedom. That and nothing else.”
...ntity in 'There Was a Queen.'." In Faulkner and Gender: Faulkner and Yoknapatawpha, 1994. Ed. Donald M. Kartiganer and Ann J. Abadie. Jackson: University Press of Mississippi, 1996. 160-180. Rpt. in Short Story Criticism. Ed. Jelena O. Krstovic. Vol. 92. Detroit: Gale, 2006. Literature Resource Center. Web. 2 July 2011.
Perkins, George B., and Barbara Perkins. "The Beast in the Jungle." The American Tradition in Literature (concise). 12th ed. Boston: McGraw-Hill Higher Education, 2009. 1148-1177. Print.
Those who profess to favor freedom, and yet depreciate agitation, are men who want crops without plowing up the ground. They want rain without thunder and lightning. They want the ocean without the awful roar of its many waters. This struggle may be a moral one; or it may
The vivid feeling of relief and elation as a result of escaping the clutches of slavery is evident from the analogies and figurative language Douglass uses in the beginning of the passage. Douglass states he struggled to express exactly what significance freedom in the North had on his immediate mental state. However, he manages to use words such as “highest excitement” to present the level of relief he acquired from escaping, giving a connotation of obvious unlimited happiness. He further described such a dynamic feeling to his audience by comparing it to the feeling an “. . . unarmed mariner [receives] when is rescued by a friendly man-of-war from the pursuit of a pirate.”
In the passage of the Narrative by Fredrick Douglass, the author masterfully conveys two complimentary tones of liberation and fear. The tones transition through the use of diction and detail. The passage is written entirely in first person, since we are witnessing the struggles of Fredrick Douglass through his eyes. Through his diction, we are able to feel the triumph that comes with freedom, along with the hardships. Similarly, detail brings a picturesque view of his adversity.
observation, a beautifully detailed manner of writing, a love for the beauty of nature, and an interest in how people interact with the natural world. Like Leopold, Bishop examines human interactions with nature on both the personal and the ecological level. On the individual level, a hunter’s contact with the animal he or she is hunting changes his or her attitude toward nature in both Bishop’s poem “The Fish” and Leopold’s essay “Thinking Like a Mountain.” On the larger level, both Bishop in her poem “The Mountain” and Leopold throughout the Sand County Almanac envision the role of human beings in relation to the rest of the natural world as one of exploration and interpretation through science and art.
In Into the Wild, Jon Krakauer explores the human fascination with the purpose of life and nature. Krakauer documents the life and death of Chris McCandless, a young man that embarked on an Odyssey in the Alaskan wilderness. Like many people, McCandless believed that he could give his life meaning by pursuing a relationship with nature. He also believed that rejecting human relationships, abandoning his materialistic ways, and purchasing a book about wildlife would strengthen his relationship with nature. However, after spending several months enduring the extreme conditions of the Alaskan wilderness, McCandless’ beliefs begin to work against him. He then accepts that he needs humans, cannot escape materialism, and can never fully understand how nature functions. Most importantly, he realizes that human relationships are more valuable than infinite solitude. McCandless’ gradual change of heart demonstrates that exploring the wilderness is a transformative experience. Krakauer uses the life and death of Chris McCandless to convey that humans need to explore nature in order to discover the meaning of life.
Rhetorical analysis is utilized throughout the novella to assert Johnson’s main message of the beauty and danger of nature. Nature is only able to accept man when man complies with nature’s laws. Although nature’s spoils must be utilized to ensure survival in the desirous wild, it is not always accepting of man’s measures for survival: “It was only when you left it alone that a tree might consider you a friend. After the blade bit in, you had yourself a war” (14-15). The use of personification in this quote helps the reader to identify nature’s menace. By using the word “war”, Johnson signifies the impending doom that some men face once they challenge nature’s concrete laws.
Palumbo, Donald. "The Concept of God in Faulkner's "Light in August," "The Sound and the Fury," "As I Lay Dying" and "Absalom, Absalom!"" The South Central Bulletin 39.4 (1979): 142-46. JSTOR. Web. 23 Mar. 2014.
Brooks, Cleanth. "William Faulkner: Visions of Good and Evil." Faulkner, New Perspectives. Ed. Richard H. Brodhead. Englewood Cliffs, New Jersey : Prentice-Hall, 1983.
Nothing in life is guaranteed, but the one thing that humans demand is freedom. Throughout history, there are countless cases where groups of people fought for their freedom. They fought their battles in strongly heated debates, protests, and at its worst, war. Under the assumption that the oppressors live in complete power, the oppressed continuously try to escape from their oppressors in order to claim what is rightfully theirs: the freedom of choice. In Emily Dickinson’s poems #280, #435, and #732 and Harriet Jacobs’s Incidents in the Life of a Slave Girl, freedom is represented by an individual’s ability to make their own decisions without the guidance, consultation, or outside opinion of others in order to find their true sense of self. Once an individual is physically and spiritually free, they can find their true sense of self.
Faulkner's style may give you trouble at first because of (1) his use of long, convoluted, and sometimes ungrammatical sentences, such as the one just quoted; (2) his repetitiveness (for example, the word "bleak" in the sentence just quoted); and (3) his use of oxymorons, that is, combinations of contradictory or incongruous words (for example, "frictionsmooth," "slow and ponderous gallop," "cheerful, testy voice"). People who dislike Faulkner see this style as careless. Yet Faulkner rewrote and revised Light in August many times to get the final book exactly the way he wanted it. His style is a product of thoughtful deliberation, not of haste. Editors sometimes misunderstood Faulkner's intentions and made what they thought were minor changes. Recently scholars have prepared an edition of Light in August that restores the author's original text as exactly as possible. This Book Note is based on that Library of America edition (1985), edited by Noel Polk and Joseph Blotner.
Steinbeck develops the theme of power through his depiction of the foreshadowing natural world. Nature remains the only constant in a world of sporadic variables and power is accentuated in its duplicity. Externally nature appears mellifluous, tranquil and unperturbed, internally however lies something far more sinister. The clearing into which George and Lennie stumble may resemble The Garden of Eden, but is in fact a place with dangers lurking at every turn. The rabbits that sit like ‘grey sculptured stones’ ‘hurry noiselessly’ for cover at the sound of footsteps, hinting at the predatory world that will inevitable destroy George and Lennie. Through this, Steinbeck exposes nature as a powerful but vicious symbol of the cruelties of life, as its external beauty establishes a sense of purity which the world cannot sustain.