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Good and evil in literature
Good and evil in literature
Good and evil in literature throughout history
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Katherine Anne Porter, a phenomenal American writer born in the late 1800s, uses a variety of literary devices that she establishes through her writings as an author. While some critics say that “Porter’s stories [are] baffling and elusive,” others say she was an inspiring and astounding author who presented her stories in a way that no other writer could (Harper 2095). In the many works composed by Katherine Anne Porter, she establishes her straightforward and despondent writing style through her use of diction and tone.
In Porter’s works, she uses the literary device of diction to establish her clear and precise writing style. With her use of diction, Porter demonstrates that she “lacks what could be called vulgar appeal, but [has] meticulous
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devotion to clear, plain writing and her conviction that human life has meaning, even in the chaos of world catastrophe…[she] appeals to readers who value serious subjects treated seriously and language that is precise and pure” (Harper 2091). Also, Porter “selects her details, the concentration of effect, the way that the impact of the story is sometimes felt only after one has finished it and put it aside, and most especially, the transcendent beauty of [her] style” with a keenness that makes her diction simple and intelligible (Harper 2092). In the collection of the three stories in the book “Pale Horse, Pale Rider,” Porter uses a “structured stream-of-consciousness form with [her] guiding the reader through Miranda’s dreams and describing the action that holds the dreams together in a plot” (Bloom 57). This shows that she uses a fluid diction to guide the readers into the minds of the characters to better understand what she is actually writing about. “Miss Porter wrote page after page of brilliantly fashioned sentences…” stated George Hendrick when talking about the fluency and structure in the writings of Porter (Hendrick 143). Porter uses tone to establish her dark and despairing outlook on the human race.
In Porter’s novel “Ship of Fools,” she writes about the “parable of a corrupt faithless world” where she yearns to enlighten her readers about the innate sinful nature of human beings (Warren 136). This novel, “based on [Porter’s] voyage from Veracruz to Bremerhaven, [her] first voyage to Europe,” follows a group of strangers aboard a cruise ship who have secret thoughts and opinions on what they believe to be good for the human race-such as killing people for the “greater good” (Warren 29). This shows that it is always in a human’s nature to think, and sometimes do, things that are against the morals that should be set in a person’s mind. “First, she presumably believes that there is not merely pathology in the world, but evil-Evil with a capital E, if you will” (Warren 9). With this quote, Robert Penn Warren, the author of “Katherine Anne Porter: A Collection of Critical Essays,” tells how Porter viewed the world and those around it with a sort of detest and utrust because she believed humans are evil beings who are prone to sinning. Also, in the book “Flowering Judas,” Porter establishes the cruelness of humanity with the character of Braggioni. “He has good food and abundant drink, he hires an automobile and drives in the Paseo on Sunday morning, and enjoys plenty of sleep in a soft bed beside a wife who dares not disturb him” (Porter 154). With this, we see how the rich character,
Braggioni, likes to spend his money on luxuries for himself, while also promoting himself as a “professional lover of humanity” (Porter 152). The readers see through Porter’s tone how Braggioni likes to picture himself as a thoughtless giver when he really is just another rich person who spends all of his money on himself. Overall, Katherine Anne Porter uses these two different literary devices to establish to her readers how she is “a moralist” (Warren 160). By using her distinctive style of diction and tone, Porter makes clear that she is a writer who likes to be precise and understandable, while also pointing out the sinful actions that appear in the daily lives of humans in society. With her diction and tone, Porter helps her readers to be able to understand and acknowledge the importance of being good human beings in the society that we live in today, while also teaching her readers that not all human beings are kind and compassionate people.
All in all, the story was rather sad but eye-opening. I believe Porter’s approach to writing this story allowed readers to reflect back on their own lives and examine both the good and not-so-good times. It shows people not to just live life through the motions, but rather, to look at it as beautiful journey as no one wants to end up like Granny Weatherall and realize that with she never really lived.
Influenced by the style of “plainspoken English” utilized by Phillip Larkin (“Deborah Garrison”), Deborah Garrison writes what she knows, with seemingly simple language, and incorporating aspects of her life into her poetry. As a working mother, the narrator of Garrison’s, “Sestina for the Working Mother” provides insight for the readers regarding inner thoughts and emotions she experiences in her everyday life. Performing the daily circus act of balancing work and motherhood, she, daydreams of how life might be and struggles with guilt, before ultimately realizing her chosen path is what it right for her and her family.
Women have faced oppression in the literary community throughout history. Whether they are seen as hysterical or unreliable, women writers seem to be faulted no matter the topics of their literature. However, Anne Bradstreet and Margaret Fuller faced their critics head-on. Whether it was Bradstreet questioning her religion or Fuller discussing gender fluidity, these two women did not water down their opinions to please others. Through their writings, Bradstreet and Fuller made great strides for not just women writers, but all women.
In a passage from Eudora Welty’s autobiography, One Writer’s Beginnings, she recalls the story of her childhood reading habits that had a later impact on her becoming a writer. She uses auditory and visual imagery, Irony a list and diction to convey her story. The author wrote this autobiography to let people know why she became a writer. She speaks in a nostalgic tone, speaking to a general audience. Welty details her past in order to convey the intensity and value of her experiences.
As every well-read person knows, the background in which you grow up plays a huge role in how you write and your opinions. Fuller grew up with a very strict education, learning multiple classic languages before she was eight years old. Fern grew up with writers all throughout her family and had a traditional education and saw first hand the iniquities of what hard-working had to contend with. Through close analysis of their work, a reader can quickly find the connections between their tone, style, content, and purpose and their history of their lives and their educational upbringing.
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 ...
When a writer starts his work, most often than not, they think of ways they can catch their reader’s attention, but more importantly, how to awake emotions within them. They want to stand out from the rest and to do so, they must swim against the social trend that marks a specific society. That will make them significant; the way they write, how they make a reader feel, the specific way they write, and the devotion they have for their work. Washington Irving, Nathaniel Hawthorne, and Edgard Allan Poe influenced significantly the American literary canon with their styles, themes, and forms, making them three important writers in America.
In “Tradition and the Female Talent: The Awakening as a Solitary Book,” Elaine Showalter makes a compelling argument that “Edna Pontellier’s ‘unfocused yearning’ for an autonomous life is akin to Kate Chopin’s yearning to write works that go beyond female plots and feminine endings” (204). Urging her reader to read The Awakening “in the context of literary tradition,” Showalter demonstrates the ways in which Chopin’s novel both builds upon and departs from the tradition of American women’s writing up to that point. Showalter begins with the antebellum novelists’ themes of women’s roles as mothers—especially the importance of the mother-daughter relationship—and women’s attachments with one another and then moves to the local colorists of the post-Civil War who claimed male and female models but who wrote that motherhood was not a suitable partner for the true artist. According to these women writers, a woman had to choose to be either an artist or a wife and mother; one negatively affected the other. The literary history then delves...
The third decade of the twentieth century brought on more explicit writers than ever before, but none were as expressive as Anne Sexton. Her style of writing, her works, the image that she created, and the crazy life that she led are all prime examples of this. Known as one of the most “confessional” poets of her time, Anne Sexton was also one of the most criticized. She was known to use images of incest, adultery, and madness to reveal the depths of her deeply troubled life, which often brought on much controversy. Despite this, Anne went on to win many awards and go down as one of the best poets of all time.
Eudora Welty writes with feeling and her “Emphasis is on varying combinations of theme, character, and style.” (Kinc...
Katherine Anne Porter utilizes characterization, conflict and symbolism in her short story, The flowering Judas. Porter wrote the story shortly after the American revolution and based her fiction story off of her firsthand, close experiences. Porter conveys Laura's character very similar to herself, She follows the catholic religion, was nomadic, independent, and had a very chaotic personal life including being married four times. Porter was a charismatic woman even through her life disappointments, illnesses and occasional poverty. All of these traits are conveyed through Laura. (Flowering Judas) Porter describes her stories as realistic she once said “they represent the substance of faith and the only reality”(Porter). She characterizes Laura
The period of history that we have been studying has afforded us a closer look at women authors and their views on the world. Kate Chopin, Sarah Orne Jewett, and Mary Wilkins Freeman all wrote stories about strong female characters. The stories were about very diverse topics but the one thing that each one had in common was that the main female character was true to herself.
Nathaniel Hawthorne’s 1843 short story entitled “The Birth-Mark” is, at face value, a traditionally formatted Hawthorne story; it is a textbook example of his recurrent theme of the unpardonable sin as committed by the primary character, Aylmer, the repercussions of which result in the untimely death of his wife, Georgiana. However, there seems to be an underlying theme to the story that adds a layer to Hawthorne’s common theme of the unpardonable sin; when Aylmer attempts to reconcile his intellectual prowess with his love for his wife, his efforts turn into an obsession with perfecting his wife’s single physical flaw and her consequent death. This tragedy occurs within the confines of traditional gender
Gilbert, Sandra M., and Susan Gubar. The Madwoman in the Attic: the Woman Writer and the Nineteenth-century Literary Imagination. New Haven: Yale UP, 2000. Print.
DeMouy, Jane Krause. Katherine Anne Porter's Women: The Eye of Her Fiction. Austin: University of Texas Press. 1983