The use of color imagery is used to represent Shiflet such as the color green which Shiftlet paints the car with. While being a symbol of hope and spring, it has also been considered sign of charity and the redemption of the soul through good works. However the color yellow which is the color of the band he paints over the green, and of the moon which appears in the branches of the fig tree, is frequently used to suggest a hellish light, betrayal, and treason. This is also shown through his name as Shiftlet or shifty suggests possible deviousness but can also represent the idea of a shift or a change. Shiftlet embodies the word "shifty." He likes to ask philosophical questions like, "What is a man?" and talk about how "rotten" the world is, …show more content…
but this is mostly an act designed to steal Mrs. Crater's car. In the end, he's shown to be just as "rotten" as everyone else. We note that Shiftlet arrives at the farm wearing a black suit and a brown hat when said “He had on a black town suit and a brown felt hat that was turned up in the front and down in the back” in page 37. Black has traditionally been viewed as a symbol of physical death and of the underworld, while brown is associated with spiritual death. It is through O'Connor's description that the reader becomes aware that Lucynell is an innocent.
Not only is she deaf and mute, which makes her unheard and silent, but when Shiftlet arrives at Mrs Crater’s home, Lucynell is dressed in a blue organdy dress which displays an imagery of the Virgin Mary. The use of color imagery is also present when her mother is talking to Shiftlet on the porch the reader learns that Lucynell has blue eyes described as “as blue as a peacock's neck” in page 38. This gives an idea of Lucynell being innocent and heavenly. Likewise when Lucynell marries Shiftlet she is dressed in white which shows purity. The name Crater suggests a void or emptiness, as if is something is missing. The name is used to show an element of foreshadowing as Shiftlet's promise to "save" Lucynell through marriage proves …show more content…
empty. Mrs. Crater is portrayed as a trickster in this story as she lies about her daughter's age when said in page 43: “How old is she?” Mr. Shiftlet asked casually. “Fifteen, sixteen,” the old woman said. The girl was nearly thirty but because of her innocence it was impossible to guess. Both Mrs Crater and Shiftlet want something.
Shiftlet wants the car because he believes it is something that will define him as successful and Mrs Crater wants to find a son in law who will marry Lucynell and look after her and the farm. Both have selfish goals and in some ways are both betraying the innocent Lucynell. They are both thinking about themselves rather than about Lucynell. O'Connor also uses the word "casket" rather than "chest" or "box" of jewels when said “I wouldn’t give her up for a casket of jewels.” in page 41, thereby reminding the reader of the coffin imagery associated with the car. This again helps link Mrs. Crater with Shiftlet, as they are both pursuing material goals and both surrendering the spiritual goal represented by the innocent Lucynell, actions which lead them to their spiritual
death. The symbolism that Flannery O’Connor uses in ‘The Life You Save May Be Your Own’ illustrates the spiritual struggles between good and evil that we as humans face. The main character, Mr. Shiftlet, embarks on a journey of spiritual means by walking on both the paths of salvation and doom. Mr. Shiftlet is given countless opportunities to turn himself around and to proceed in the right direction, on the path of salvation. As in the story, these moments that give us a chance for salvation enclose our own lives. Unfortunately, Mr. Shiftlet does not stay on the right path for very long. He finds himself, time and time again, heading towards his own damnation. There are symbols throughout ‘The Life You Save May Be Your Own’ lead one to believe that Mr. Shiftlet is ill fated. Mr. Shiftlet's acquired characteristics exemplify this, "His left coat sleeve was folded up to show there was only half an arm in it" (Page 37). Mr. Shiftlet's arm, or rather stump, is a physical deformity that represents a manifestation of his soul. Mr. Shiftlet proves to be flawed by making poor choices and only wanting to achieve his own satisfaction. "He swung both his whole and his short arm up slowly so that they indicated an expanse of sky and his figure formed a crooked cross" (Page 38). This "crooked cross" is a perversion of religion that is a clue to the future damnation that Mr. Shiftlet will soon face.
For example the connotation ‘red’ is the colour of fire, danger, power, caution and malice. ‘Red’ is an emotionally intense colour and is a consistent theme that builds up like a heated fire because Peter is full of rage and wrath and he is the “red herring” because he is distracting the mum from the truth about the abuse he is causing.
In the end, Mr. Shiftlet ends up abandoning the girl. In “The Life You Save May Be Your Own,” O’Connor uses duality to show that people and things can have two sides. In the story, O’Connor parallels Mr. Shiftlet to Christ and to an anti-Christ. O’Connor reveals, through the character of Mr. Shiftlet, that people can have two different sides to them. Mr. Shiftlet’s past occupations correspond to what Jesus Christ did while he was on earth.
...stingly, Lucy reveals a furtive desire to escape the traditional constraints that are placed upon her. Prior to being pleased with her committed relationship, Lucy complains, “why can’t they let a girl marry three men, or as many as want her, and save all this trouble?” (Stoker 92). Her desire for three husbands suggests a latent sensuality that connects her to the New Woman; she is torn between the need to conform and the desire to rebel (Senf 42). On the night of Lucy’s initial vamping, Mina witnesses her friend in the cemetery of Whitby: “it seemed to me as though something dark stood behind the seat where the white figure shone, and bent over it. What it was, whether man or beast, I could not tell” (Stoker 144). For Lucy, this exceedingly sexual scene acts as an exaggerated fulfillment of her earlier sexual curiosity regarding polygamy (Prescott & Georgio 502).
“Gatsby believed in the green light, the orgastic future that year by year recedes before us”(Fitzgerald 171). Whenever Gatsby looks at Daisy’s green light, he thinks of a bright future with his love of his life. The color green symbolizes Gatsby’s desire for a future with Daisy. Green also symbolizes Gatsby’s desire for great wealth. Nick describes Gatsby’s car as a “green leather conservatory” because the interior is green (Fitzgerald 64).
Symbolism is immensely spread through this novel, as well as an immerse amount of color. For example, the green light gatsby strives for. Gatsby states that the "single green light" on Daisy's dock that Gatsby gazes wistfully at from his own house across the water represents the "unattainable dream," the "dream [that] must
The use of diction is powerful, with the gripping use of words and description. Golding creates tension and reinforces his theme and tone with the use of specific words. Many are connotative and therefore create a story abundant in meaning and symbolism. Golding uses colors such as pink to symbolize particular things such as innocence, as shown in the piglets and the island. The word yellow makes the reader think of the sun, enlightenment and Ralph; the words black and red bring to mind evil, blood and Jack.
... middle of paper ... ... Hence, the colour green is used throughout the novel to represent all of the jealousy and envy. In conclusion, Fitzgerald uses colours to express the different themes in the novel.
I first notice Brother’s conflicting actions when he is dangerous and harmful toward Doodle, yet protective. He first acts dangerously when he ignores “A long list of don’ts…once they are out of the house” (Hurst 111). For example, this first action is like Paris Green because Paris Green is a harmful poisonous chemical used to kill and in the list of don’ts he must be treated gently. The Paris Green therefore symbolizes the deadly actions and situations Brother puts Doodle in, even though he should be treated gently. I see Brother being protective and caring when, “I [was dragging] him across the burning cotton field to shave with him the only beauty I [know], Old Warren Swamp” (Hurst 111). When Brother took Doodle to Old Woman Swamp the action of bringing doodle was caring and the atmosphere of the swamp is protective and green like the Paris green. In addition, the paris green is also protective feature just like Brother is towards to Doodle. Therefore, the Paris green is a important representative symbol that symbolizes the destructive yet caring actions towards Doodle from Brother.
car turns yellow. " Yellow symbolizes money and corruption in the novel" (Symbolism in The Great Gatsby). Instead of being 'rich' cream color," a witness is quoted saying. "It was a yellow car." implying that the dream is dead" (Swygert).
Louise Erdrich and Tim O’Brien both use symbolism to foreshadow of what the future will come to be of the characters. Henry in “The Red Convertible,” his emotions and mental state is shown through the symbolism of the red convertible. The car symbolizes the strong bond between one another. Henry tells Lyman, “When I left the car was running like a watch. Now I don’t know if I can get it to star again, let alone get it anywhere near its old condition” (Erdrich 138). The relationship between Henry and Lyman applies to the condition of their vehicle. Bussey states in her critical essay, “After Lyman damaged the car, Henry had the opportunity to work toward a goal, instead of watching television all day. In this way, the car symbolizes Henry 's
Also, the purpose of the coffin serving as the symbol of the Bundrens' gratitude to Addie leads to the coffin's purpose of serving as the symbol of the family's instability. Darl, the most perceptive and observant one in the family, realizes that the coffin is causing the family to destruction and that the journey is absurd. Darl desperately tries to burn the coffin at Gillipsie's barn to properly cremate her and “so she can lay down her life.” After he fails, because of the Bundrens' dysfunction, they prioritize burying the coffin over Darl and have him sent to the mental institution instead since, “it was either send him to Jackson, or have Gillipsie sue (them).” Darl's act of burning the coffin for his gratitude for Addie leads to him falling into the instability of his family, in which he goes insane.
Unlike Owl Eyes, who fortunately doesn’t harm anyone in the accident, “Myrtle Wilson has her life violently extinguished” (Hendrickson’s, Styles Part 4), by one of Fitzgerald’s main characters named Daisy who didn’t even slow down for Myrtle. In this same novel, one of the characters named Jordan Baker, drives so recklessly and close to someone that she ends up popping a button on his jacket. Fitzgerald not only just uses repetition of reckless driving to show people's lack of responsibility, but also uses the repetition of the color green to show a fresh start.
Oates’ use of the way Arnold looks and acts so similar to the devil, her use of the words on the car meaning something foreign and her subtle symbolism with Connie’s attire make the story’s theme of evil and manipulation stand out so much more. Connie’s clothing symbolizing
...kindness towards Lucy. Prior to this scene the narrator, recalling this shot, questions if Cheng even remembers his initial purpose for coming to London. The color change acts as a visual realization of Cheng’s newly reinvigorated spirituality and Buddhist belief.
The problems Lucy faces in A Room With a View mirror those of E.M. Forster. Forster, being raised by the women in his life, saw the difficult choices they had to make. Lucy's biggest decision is whether to live a fulfilling, happy life or follow along with her families values. Forster watched the Victorian women in his life give up their freedom for societal acceptance. For example, Forster's maternal grandmother on whom he based the character of Mrs. Honey church (Gardner 398) Forster also recognized the parallels between the societal treatment of women and its treatment of homosexuals. Forster also enjoyed adding "muddle" ...