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Katherine Mansfield as a modernist writer in Bliss
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Ignorant Grief of a Controlling Statue
“The Fly,” by Katherine Mansfield, is a short story focusing on a man who is struggling with grief six years after his son passes away. At the beginning, the boss appears to be a robust man. However, a conversation with an old friend unlocks the boss’ inner grief at the mention of his son. The reader then becomes aware of the boss’ thoughts and feelings about his son and how the news about his boy’s demise resonates with him. Although the boss shows significant emotion towards the death of his son, he is unable to understand his grief due to issues he has regarding control over himself. He constricts himself from exploring his emotions and at the same time, attempts to control things that are out of
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At first, the boss seems to be a tough man, however, when remembering his late son, he “[arranges] to weep” (Mansfield 25). This passage suggests that the boss has too much control over his emotions. In order to show any emotion, the boss must isolate himself and when he does he is still unable to weep. This control may be influenced by society, because in that time period men did not cry. As a result of this belief, the boss prevents himself from expressing any emotion, which in turn, inhibits him from dealing with his grief, let alone understanding it. Furthermore, in order to understand grief, it is crucial to first let go of control. Considering that the boss has not been able to do this, reveals that his mental state might be repressed. Also, Mansfield suggests that the death “might have happened yesterday” (29). Here, it is clear that the boss has not been able to recover. The death of his son is still fresh in his mind and he has not been able to clear the thoughts. In an attempt to live up to the views of society the boss tires to put aside his grief, however, the grief always comes back. He does not realize that he must submit to his grief instead of battling it. The fact that six years have elapsed without progress, indicates a lack of understanding for his
Hamlet throughout the play lives in a world of mourning. This bereavement route he experiences can be related to Elizabeth Kubler-Ross’s theory on this process. The death of Hamlet’s spirit can be traced through depression, denial and isolation, bargaining, anger, and acceptance. The natural sorrow and anger of Hamlet’s multiple griefs include all human frailty in their protest and sympathy and touch upon the deepest synapses of grief in our own lives, not only for those who have died, but for those, like ourselves, who are still alive. Hamlet’s experience of grief, and his recovery from it, is one it which we ourselves respond most deeply.
Through an intimate maternal bond, Michaels mother experiences the consequences of Michaels decisions, weakening her to a debilitating state of grief. “Once he belonged to me”; “He was ours,” the repetition of these inclusive statements indicates her fulfilment from protecting her son and inability to find value in life without him. Through the cyclical narrative structure, it is evident that the loss and grief felt by the mother is continual and indeterminable. Dawson reveals death can bring out weakness and anger in self and with others. The use of words with negative connotations towards the end of the story, “Lonely,” “cold,” “dead,” enforce the mother’s grief and regressing nature. Thus, people who find contentment through others, cannot find fulfilment without the presence of that individual.
Overcoming the grief that is felt after losing a loved one is a physically and mentally agonizing task. According to Dr. Christina Hibbert, a clinical psychologist who graduated from the California School of Professional Psychology, three main stages of grief include anger, depression and acceptance. Each one of these emotions can be seen in William Shakespeare’s Hamlet and The Descendants (2011, Payne) as the artists explore the effects of grief and the different emotional responses that one can have due to the loss of a loved one. Additionally, in Ismail Kadare’s Broken April, the Berisha family feels the sufferance that is associated with unexpected death, as well as the various temperamental reactions that one will have after losing a loved one. Each of these works of art represent a powerful example of the stages that one will go through after feeling the intense sorrow that is connected with death, as well as the unavoidable effects of grief.
Imagine that the person you love most in the world dies. How would you cope with the loss? Death and grieving is an agonizing and inevitable part of life. No one is immune from death’s insidious and frigid grip. Individuals vary in their emotional reactions to loss. There is no right or wrong way to grieve (Huffman, 2012, p.183), it is a melancholy ordeal, but a necessary one (Johnson, 2007). In the following: the five stages of grief, the symptoms of grief, coping with grief, and unusual customs of mourning with particular emphasis on mourning at its most extravagant, during the Victorian era, will all be discussed in this essay (Smith, 2014).
The situation in which I will be referring to throughout this essay is a family dinner celebrating my brother’s engagement to his fiancé whom my mother approves of but my father does not. The works of Arlie Hochschild on emotional work will be used to analyze the situational context. Arlie Hochschild is a professor at the University of California, Berkeley whose area of interest is in how individuals manage their emotions and perform emotional labor in places that require control over one’s character such as their workplace. Her work suggests the idea that emotion and feeling are social. In this Hochschild (1983) means that there are rules to how we feel in every situation such as birthday parties and trying to stay happy at them or funerals and being expected to express emotions of grief. An individual may engage in emotional work by changing their affective state to match the feeling rules of the situation, Hochschild (1983) refers to this as two concepts: surface acting and deep acting.
Louise Mallard has not yet heard the news of her husband’s death. As the news is revealed to her she went into a state of unhappiness, and she had a hard time “accepting the significance” (463). She “wept at once” with “wild abandonment” and the “storm of grief” (463), passed over and she went alone to her bedroom with no one to follow her. The author describes in the previous sentence that the storm of grief has passed over her,
Looking back on the death of Larissa’s son, Zebedee Breeze, Lorraine examines Larissa’s response to the passing of her child. Lorraine says, “I never saw her cry that day or any other. She never mentioned her sons.” (Senior 311). This statement from Lorraine shows how even though Larissa was devastated by the news of her son’s passing, she had to keep going. Women in Larissa’s position did not have the luxury of stopping everything to grieve. While someone in Lorraine’s position could take time to grieve and recover from the loss of a loved one, Larissa was expected to keep working despite the grief she felt. One of the saddest things about Zebedee’s passing, was that Larissa had to leave him and was not able to stay with her family because she had to take care of other families. Not only did Larissa have the strength to move on and keep working after her son’s passing, Larissa and other women like her also had no choice but to leave their families in order to find a way to support them. As a child, Lorraine did not understand the strength Larissa must have had to leave her family to take care of someone else’s
Lear spends his last days regretting the things he had done in his life. He wallows in self-pity, blaming others for his demise. Lear isolates himself from the people who love him, and fills himself with jealousy towards those who will survive him. Mitch Albom's Tuesdays With Morrie outlines themes of understanding and forgiveness, whereas William Shakespeare's King Lear explores themes of regret and isolation. It is apparent that both texts show the relevance of death and its effect on human behaviour.
In conclusion, Shakespeare shows throughout the play Hamlet, that when people try to cope with a lack of control created by the loss of an authoritative parent, they harm, and eventually destroy themselves. Through the lives of character’s Ophelia, Hamlet and Laertes, this truth is revealed, as they respectively lose their mind, damage those around them, and their plans retaliate against themselves because they did not cope in healthy ways. When undergoing times of trial and testing, positive ways to cope involve doing so with close friends, accepting the facts, and moving on with life at a pace that is neither to concentrated in the past, nor the future.
"’Tis not alone my inky cloak, good mother, / nor customary suits of solemn black / [ . . . ] but I have that within which passeth show; / these but the trappings and the suits of woe” (Shakespeare 1.2.76-73, 85-86) says Hamlet when confronted about his way of grieving over his father’s recent death. Shakespeare’s play Hamlet is a remarkable tale that is centered on the idea of death and grief. While death is a universal occurrence, meaning every person will deal with it, how we grieve after a loss is completely individual. To look at a formula of grief, most turn to the five stages of grief developed by Elizabeth Kubler-Ross, a psychiatrist, who studied the topic in her book On Death and Dying. This model consists of denial, anger, sadness, bargaining, and acceptance, although the duration and order of the stages are different for every person. In Shakespeare’s play Hamlet the stages of grief are evident in his sadness, anger, and finally acceptance.
...opped, choking with sobs, and, overcome by emotion, flung herself face downward on the bed, sobbing in the quilt” (223). The emotion of him were shown throughout the “Dead” and brought the individuals in society closer together through the dark times.
The characters in Alice Sebold’s The Lovely Bones are faced with the difficult task of overcoming the loss of Susie, their daughter and sister. Jack, Abigail, Buckley, and Lindsey each deal with the loss differently. However, it is Susie who has the most difficulty accepting the loss of her own life. Several psychologists separate the grieving process into two main categories: intuitive and instrumental grievers. Intuitive grievers communicate their emotional distress and “experience, express, and adapt to grief on a very affective level” (Doka, par. 27). Instrumental grievers focus their attention towards an activity, whether it is into work or into a hobby, usually relating to the loss (Doka par. 28). Although each character deals with their grief differently, there is one common denominator: the reaction of one affects all.
The Death of Ivan Illych brings an excellent in-depth description of Elisabeth Kubler-Ross’s 5 cycles of grief theory. In the book, it shows how Ivan Illych goes through these cycles in their own individual way. The cycles that Kubler-Ross uses in her theory are: denial, anger, depression, bargaining, and acceptance. To get a better understanding of these cycles, this paper will describe each cycle and provide quotations that will help develop an idea of how someone going through these cycles may react.
In Shakespeare’s Hamlet, the influence of Hamlet’s psychological and social states display his dread of death as well as his need to avenge his father’s death. In turn, these influences illuminate the meaning of the play by revealing Hamlet’s innermost thoughts on life, death and the effect of religion. Despite the fact that Hamlet’s first instincts were reluctance and hesitation, he knows that he must avenge his father’s death. While Hamlet is conscious of avenging his father’s death, he is contemplating all the aspects of death itself. Hamlet’s decision to avenge his father is affected by social, psychological and religious influences.