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The life you save may be your own meaning
Flannery O'Connor story analysis from the author
The life you save may be your own
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Nostalgic finales just seem too good to be real with the quaint happy endings that typically conclude fairy tales; not with Flannery O'Connor's writings, which depict sarcasm with disquieting twists and mordant characters. One of O'Connor's most successful works, "The Life You Save May Be Your Own" epitomizes her writing style that is characteristically seen by many as grotesque and sardonic. This short story represents the antithesis of a fairy tale, ingeniously warping its vital elementsdamsel in distress (Lucynell, the daughter), the mother (Mrs. Lucynell Crates), and knight in shining armor (Mr. Shiftlet)to make its readers see the latent malevolence of all human beings. Utilizing a keen consideration on each fictional component in the story, O'Connor conveys her message effectively by contrasting hideousness against pulchritude. She makes effectual use of liars to demonstrate the truth. O'Connor's deep perspective is evident in the way she inflicts ruthless challenges to the characters in the story.
The damsel in distress of this story in no way exemplifies a charming lady typical of any fairy story. If anyone is asked to delineate the female protagonist of any story, one may picture a girl with long blonde hair with dreamy blue eyes that project an angelic presence. An angelic quality is perhaps the only positive trait that Lucynell possesses. Albeit overall Lucynell does not possess a character that one wishes to be portrayed as, this character remains the only trace of purity and redemption in the story. As adverse as Lucynell's naïveté may be, one will be culpable of betraying such sort of innocence. This is the reason that Shiftlet's desertion of Lucynell makes him guilty for conning the trust of an innocent woman. Thus, O'Connor attempts to admonish every young naïve lady of her inherent vulnerability that presents an opportunity of being taken advantage of by any deceptive, malicious person. As a message to every woman, O'Connor conveys the unreality of any woman embodying the illusory qualities that is depicted in fairy stories. Albeit not of the same intensity as Lucynell's tribulation, every woman possesses imperfections that set her far apart from the divinity portrayed by maidens in fairy stories. Since no such goddess of beauty actually exists in reality, O'Connor employs the other extremethe antithesis of an enchantressto thwart expectations.
The mother of a fairy story is usually categorized into two: either as a wicked stepmother or a fairy god mother. In "The Life You Save May Be Your Own," the character Mrs.
A heroine's journey usually involves a female protagonist, however, the relationship with this story structure goes much deeper in this book.
With these two divergent personas that define the grandmother, I believe the ultimate success of this story relies greatly upon specific devices that O’Connor incorporates throughout the story; both irony and foreshadowing ultimately lead to a tale that results in an ironic twist of fate and also play heavily on the character development of the grandmother. The first sense of foreshadowing occurs when the grandmother states “[y]es and what would you do if this fellow, The Misfit, Caught you” (1042). A sense of gloom and an unavoidable meeting with the miscreant The Misfit seem all but inevitable. I am certain that O’Connor had true intent behind th...
Like the Good Other Woman, the Evil Other Woman often spends much of her life hidden away in the castle, secret room, or whatever, a fact suggesting that even a virtuous woman’s lot is the same she would have merited had she been the worst of criminals. The heroine’s discovery of such Other Women is in the one case an encounter with women’s oppression-their confinement as wives, mothers, and daughters-and in the other with a related repression: the confinement of a Hidden Woman inside those genteel writers and readers who, in the idealization of the heroine’s virtues, displace their own rebellious
Her lionhearted clothes reflected her valiant and strong attitude. However – Elisa Allen hid her true feelings. She was deceitful in interpersonal communication. Her tongue spilled bittersweet black smut like that of industrialized coal engines. However – it was compassionate, her concern and subtle behavior. A girl screaming to escape maiden life, but only knew it was disrupt order. “Her face was eager and mature and handsome; even her work with the scissors was over-eager, over-powerful. “The chrysanthemum stems seemed too small and easy for her energy.” Verily, she had the heart of a lion and the appearance of a virgin.
Which is caused by the narrator having a male perspective. The narrator does not give the women and credit or redeeming qualities. All the women follow a general stereotype. If they tried to break away from the stereotype, they would me more important and influential characters. Paquette, a chambermaid in the Baron’s castle, is described as “a pretty and obedient brunette” (5). She is identified obedient not because of her job as a chambermaid, but because she is willing to exploit her soul and body to the men around the castle. In regards to the old woman, she doesn’t even have an actual name, which does not matter since is ugly and useless. The old woman has the mindset that she is; an object; a mistake; a disgrace. That her time has passed as a beautiful useful woman. All the rape and abuse has physically affected her and she is out of luck. In fact, she is lucky if men talk to her, or even look at her without
...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.
The character analysis of Mary Anne Bell in comparison and contrast to Martha and Elroy Berdahl implores the audience to consider the idea that gender is not inherent.
... perfect exemplars of how an ideal innocent women, can face undoubtedly tragic fates. Despite much strength in their characters, both Daisy and Desdemona exhibit the vulnerability of their innocence, the ability for others to take advantage of them, and glaring weaknesses. They are unaware of their surroundings, which lead to questionable actions. Their inevitable tragedies occur because of how each character dealt with these situations placed in front of them. All in all, Daisy and Desdemona are responsible for their tragedies because they are women placed in unfamiliar positions and are unable to deal with situations placed in front of them.
Today, adults reading Charles Perrault’s Cinderella realize similarities and differences between Cinderella and a modern western woman. Adults recognize that Cinderella in Perrault’s fairy tale has undesirable qualities for a modern western woman, today. Cinderella is affectionate, goodwill, forgiving, and loyal. On the other hand, Cinderella is not independent, outspoken, confident, and strong. Cinderella has low self esteem and is incapable of solving problems. Inferiority, dependence and passiveness are characteristics that represent Cinderella do not characterize a modern western woman.
This modern fairy tale contains diverse characters but none of them are as important as the grandmother. In fact, through her narration the reader gets the basic information concerning the familial context. The story revolves around a grandmother, a mother and a granddaughter, which thus sets the point of view of the story, the grandmother is the narrator therefore the reader gets her perception. Besides the domestic context, the lack of other contextual clues, such as the time or the location of the story, gives room to her story and her final purpose: teaching and, at the same time, protecting her grand-daughter from risks represented by men here symbolized by a wolf. The way this unnamed grandmother reveals her life exemplifies two properties of fairy tale as mentioned by Marina Warner in “The Old Wives' Tale”: “Fairy tales exchange knowledge [using morals] between an older [most of the time feminine] voice of experience and a younger audience” (314). As suggested in the text, fairy tales are a way to teach insights of life through simple stories directed to, most of the time, younger generations. Most of the time because fairy tales' moral work on dif...
This modern fairy tale contains diverse characters but none of them is as important as the grandmother. Through her narration, the reader gets all the information needed to understand the story. Indeed, by telling her own story she provides the reader the familial context in which the story is set with her granddaughter and her daughter but even more important, she provides details on her own life which should teach and therefore protect her grand-daughter from men, and then save her to endure or experience her past griefs. This unnamed grand-mother is telling her life under a fairy tale form which exemplify two major properties of fairy tale, as mentioned by Marina Warner in “The Old Wives' Tale”: “Fairy tales exchange knowledge [through the moral] between an older [most of the time feminine] voice of experience and a younger audience”. As suggested in the text, fairy tales are a way to teach insights of life through simple stories directed to, most of the time, younger generations. Most of the time because fairy tales work on different levels of moral which are directed to categories of people, for instance in “Little Red Riding Hood” the moral ...
Anne Sexton’s poem “Cinderella” is filled with literary elements that emphasize her overall purpose and meaning behind this satirical poem. Through the combination of enjambment stanzas, hyperboles, satire, and the overall mocking tone of the poem, Sexton brings to light the impractical nature of the story “Cinderella”. Not only does the author mock every aspect of this fairy tale, Sexton addresses the reader and adds dark, cynical elements throughout. Sexton’s manipulation of the well-known fairy tale “Cinderella” reminds readers that happily ever after’s are meant for storybooks and not real life.
Similar to the above conversation, one must take these tales with a grain of salt, and keep in mind the time period in which they were written. For the purpose of this paper, the focus will only be on what the tale is striving to teach those who read it. Similar to Lurie’s opinion on “The Light Princess,” readers of “Sleeping Beauty” may come away from the story thinking the best was to grow up or be helped is to fall in love; let the man (prince) solve the problem (Lurie 360). This thought is further echoed by Martin Hallett and Barbara Karasek, the authors of “Folk and Fairy Tales,” as they describe the story “as a metaphor for growing up: the heroine falls asleep as a naïve girl and awakens as a mature young woman on the threshold of marriage”
A prolific exemplification of the ideal female virtues portrayed in fairy tales is Charles Perrault’s “ The Little Glass Slipper”. Perrault presents the ideal female fairy tale character through his portrayal of Cinderella. Cinderella is a tame and forgiving individual who subjects herself to the will of her father, stepmother and s...
...ny risk in saving the damsel in distress. A damsel in distress is a young, beautiful, helpless woman that is in the need of being saved because she got herself in the wrong type of situation that she is not able to get herself out of on her own. A prime example of literature that has the Romantic hero and the damsel in distress is the movie The Last of the Mohicans, Natty Bumppo being the romantic hero and the damsel was Madeleine Stowe waiting for Natty to come and save her from the Indians that had kidnapped her. The movie allowed the viewer to get all points of view giving them the chance to see the hero and damsel in distress, letting the viewer truly get the concept of the Romantic Period.