Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Love in literature essay
Love in literature essay
Love in literature essay
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Le Fanu uses the relationship between Carmilla and Laura to express that women have a powerful and threatening force of sexuality. Throughout the story, Carmilla manipulates Laura’s emotions by acting erotic, compelling and mysterious. Carmilla exerts a sexual force over Laura that is inexplicable and uncontrollable, which makes it extremely threatening to Laura. Carmilla’s sexual power gives her the power to attract Laura in an unfathomable way, making Laura experience both feelings of attraction and feelings of panic. Not knowing what will happen each night and not being able to explain the feelings she is feeling gives Laura a sense of anxiety throughout the book. From the moment they first encounter each other, when Carmilla came to Laura in a dream in her childhood, Laura thinks of Carmilla as a …show more content…
mysterious figure. When they first meet in person later in life, Carmilla draws Laura’s attention immediately. In the first day of their relationship, Laura is attracted to her and feels and recognizes Carmilla from her dream, which draws them closer together. However, she also feels a sense of emotional conflict. “I did feel, as she said, ‘drawn towards her’, but there was also something of repulsion. In this ambiguous feeling, however, the sense of if attraction immensely prevailed. She interested and won me; she was so beautiful and so indescribably engaging” (Le Fanu 260). Throughout the rest of the story, Laura continues to feel emotionally disoriented when she thinks about her feelings towards Carmilla. Laura attempts to learn about Carmilla’s life so that their relationship can grow, however Carmilla keeps this information secret. This mystery contributes to the mixed feelings that Laura has, but it also can contribute to the looming power that Carmilla has over Laura because Laura inadvertently finds herself desiring someone who she knows very little about. Laura attempts to rationalize her feelings towards Carmilla, by inferring that she is a male in disguise, however she is never able to justify her intense, mixed feelings. This is because Carmilla’s sexual power is inexplicable and powerful, making it threatening to Laura. Carmilla’s sexual power threatens Laura because she has no power over it.
Although Laura is very aware of her emotions, she has little power over them, because Carmilla exerts a sexual force over Laura that she cannot control. Laura’s feeling of not being in control stems from the fact that many of her encounters with Carmilla occur while she is sleeping, where Laura is unaware of what is going on. She feels pain, stabbing, and haunting images, and Laura cannot explain these dreams. After experiencing many of these “dreams”, or the threatening nighttime encounters with Carmilla, Laura starts to lock her bedroom door and leave the light on while she sleeps in attempt to protect herself from these occurrences. “But my dreams come through stone walls, light up dark rooms, or darken light ones, and their persons make their exits and their entrances as they please, and laugh at locksmiths.” (Le Fanu 260) Just after Laura has taken these precautions, she experiences a “dream” full of stabbing feelings in her breast and female figures. Laura is aware that this sexual threat comes into her room that is more powerful than the measures she uses to protect
herself. Le Fanu expresses that falling victim to sexual power parallels becoming diseased, as the further Carmilla and Laura’s relationship progresses, the more ill Laura becomes. He associates the horrifying and radical idea of vampirism with the idea of female sexual power, which was seen as just as radical in Le Fanu’s time. The entirety of the story shows Laura seeking to rationalize her experience, but she is never successful, showing that Le Fanu finds Carmilla’s power curious and inexplicable. Le Fanu fills Carmilla with radical ideas for the 1800s, such as lesbianism and vampirism, but the most radical idea of all is the power that he gives Carmilla. The most shocking overarching concept of the story is Laura’s anxiety over her dreams and emotions. Le Fanu uses this story to illustrate that female sexual power can contaminate society, as it is extremely manipulative and uncontrollable.
. her narrow silk suit with hamburgers and french fries printed on it will glisten in the brilliant air . . .” (13-15). The majestic image of the girl illustrates the mother’s pride in her daughter’s confidence during the predominantly male party. As a result of the girl’s poised demeanor, the mother is likely to be pleased with her daughter’s ability to uphold the expectations of an adult. Rather than feeling apprehensive and uneasy about a party favoring one gender, the girl overlooks this distinction and carries herself admiringly. In addition to developing an adult-like composure, the girl also experiences an awakening of her sexuality. Her seductive feelings and allurement toward the boys is becoming more conscious in her thoughts. Emerging from the pool, the water from the girl’s body is described to “sparkle and fall to the power of a thousand . . .” (22). The girl is beginning to understand sexual attraction and her appeal to the opposite sex. The mental image of prestige that is suggested by her newfound “power” heavily contradicts the representation of innocence and naivety of what was once the girl. The girl is no longer oblivious to sexual desires and hesitant of change. Instead, she carries around her femininity and allurement as a badge of
The capacity of sexual feelings within the individual is central to both the development and fundamental basis of any significant character. As observed in both 'One flew over the cuckoos nest' (AKA Cuckoo's nest) and 'A Street car named desire' (AKA. St. car) sexuality emerges as a principal device used in defining a character to the audience. By the reliance on and close association of the text with the stereotypical characters found within society, the characters presented to the audience can be made more identifiable with. The physical description of a character can therefore be said to be symbolic of its sexuality, "Broad across the jaw shoulders and chest"[1] and in likening a description to a stereotype "I fight and fuh..too much"[2] this can be greater reinforced.
The novel complicates its own understanding of women
To start off, first, the narrator thinks that the house her and her husband John are renting for the next three months is haunted or it wouldn’t be as cheap as it is for being such a beautiful place. Another thing is that she unhappy in her marriage. Her husband doesn’t listen to her, tells her she’s wrong and laughs at her. She is feeling very unwell and all he says is she has temporary nervous depression and only tells her to stay in bed and do nothing. The way she describes things is very bleak, dark, depressing. She keeps going back to thoughts of the house being haunted and gets anxious. She becomes angry with John for no reason sometimes and thinks it’s from her ‘nervous condition’. Something the reader may not catch onto when she talks about how she doesn’t like her bedroom is how she took the nursery, so right away, we know she has a baby. She feels trapped with the barred windows and not being able to go anywhere, having to just lay down and look at the most revolting yellow wallpaper shes ever seen. Writing the story alone makes her extremely exhausted and she says that John doesn’t know the extent of her suffering. Eventually, it’s made known that she can’t even go near her own child and it makes her increasingly nervous. She has unwanted thoughts throughout the entire story of the terrifying ugly yellow
...e relationship with men, as nothing but tools she can sharpen and destroy, lives through lust and an uncanny ability to blend into any social class makes her unique. Her character is proven as an unreliable narrator as she exaggerates parts of the story and tries to explain that she is in fact not guilty of being a mistress, but a person caught in a crossfire between two others.
Of the two sisters Lizzie and Laura, Laura is the one whose curious desires get the best of her. She and her sister encounter the goblin men and Lizzie just “thrust a dimpled finger / In each ear, shut her eyes and ran” (67 – 68); however, Laura’s curiosity gets the best of her and she chooses to stay: “Curious Laura chose to linger / Wondering at each merchant man” (69 – 70). These goblin men are selling fruit, and once Laura gets her hands on it, she is hardly able to stop herself. Quenching her desire is overwhelming for her, so much so that when she is finally done she “knew not was it night or day” (139). When she arrives home later, she tells her sister, “I ate and ate my fill, / Yet my mouth waters still; / Tomorrow night I ...
influence all her life and struggles to accept her true identity. Through the story you can
Being constantly alone and prohibited to leave her bedroom, she begins to start being delusional with nothing to occupy her time, but to write. With “barred windows for little children and rings and things in the walls” the bedroom is in similarity to a prison cell. (page 648). While John is keeping her away from reality, Jane begins to feel as if the right thing and she won’t be able to get out.
In addition, she always talks about the moonlight during these times of night. When the moonlight is not present, the narrator is not active. Her husband comes to visit and she does not do much. But at night, when her husband is sleeping, the narrator wakes up and starts walking around the room. The protagonist believes that there is a woman trapped by the wall, and that this woman only moves at night with the night light. The allusion to this light is not in the beginning of the story, but in the end. “She begins to strip of the wallpaper at every opportunity in order to free the woman she perceives is trapped inside. Paranoid by now, the narrator attempts to disguise her obsession with the wallpaper.” (Knight, p.81) In the description of the yellow wallpaper and what is seen behind it there are sinister implications that symbolize the closure of the woman. It implies that any intellectual activity is a deviation from their duties as a housewife. Her marriage seems to be claustrophobic as her won life, a stifling confinement for a woman's creativity. As imaginable, such treatment and "solitary confinement"(Knight, p.86) will do nothing but worsen her condition, affecting
It is very interesting on how the narrator adds more to the story. Since the reader is only able to see what is the narrator feeling or thinking at the moment. We can’t see how other characters might be reacting around her, because it is only first person point of view. However, the narrator does begin to make the reader question what is really happening to her. All though she loves her bedroom, at some point in the story, the narrator begins to describe how much she hates the yellow wallpaper in her bedroom. Her hate towards the yellow wallpaper becomes an obsession, in which she describes that she “sees” a woman trapped in the wallpaper desperate to escape out of it. “…I kept still and watched the moonlight on that undulating wallpaper till I felt creepy. The faint figure behind seemed to shake the pattern, just as if she wanted to get out.”-(652). With the narrator taking medication, sleeping in separate rooms from her husband, and now having illusions of a woman being trapped in the wallpaper. The reader can analyze that the narrator is most likely going through a depression or some type of mental
Laura unable to survive in the outside world - retreating into their apartment and her glass collection and victrola. There is one specific time when she appears to be progressing when Jim is there and she is feeling comfortable with being around him. This stands out because in all other scenes of the play Laura has never been able to even consider conversation with a "Gentleman Caller."
Additionally, a young man appears in Laura’s life that sings outside her bedroom window, writes poems to her, and follows her around town to demonstrate his passionate love for her. Porter states, “She tells herself that thro...
It is said in the character description that Laura “[has] failed to establish contact with reality” (Glass 83). This illustrates how Laura is childlike and naive, in that, Williams literally says that she has not established contact with reality. Laura is naive because she refuses to face life and all that comes with it, she is also childlike because she has sheltered herself and is unaware of her surroundings much as a child would be. Early on in the play the reader discovers that Laura had affections towards Jim when they were in high school. This, of course, will prove to be part of Jim’s easy manipulation of Laura. Shortly after this discovery, Laura’s gentleman caller, Jim, is invited over for dinner with the family. After having completed their evening meal, Laura and Jim go to another room and being
Her tense mind is then further pushed towards insanity by her husband, John. As one of the few characters in the story, John plays a pivotal role in the regression of the narrator’s mind. Again, the narrator uses the wallpaper to convey her emotions. Just as the shapes in the wallpaper become clearer to the narrator, in her mind, she is having the epiphany that John is in control of her.
Laura started off in a bubble, and has lived in it all her life. She has been protected from the real world, so she has never experienced the effects of betrayal, poverty, or labor, let alone death, which she does get to experience, by the end of the story. Laura meets face to face with death, and the results of it will change her look on life forever. It is a wonder she ever had a chance to be a caring, sensitive person with a sibling like Jose. Jose is an unfeeling, heartless and self-absorbed person who is completely clueless to those around her who don’t have lots of money or expensive assets. She sings songs with mock passion: