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The Metamorphosis of Bertha in Katherine Mansfield’s Bliss
Katherine Mansfield’s “Bliss” is quite an interesting story full of underlying meanings and themes. Upon a first reading, it seems to be a simple story of a woman who feels uncontainable bliss one day, only to have it end when she discovers her husband is having an affair. Although this is a correct interpretation, after a second reading, much more is apparent. “Bliss” is a story of the revelation of a vibrant young woman, of criticism of society, and of sexual revolution.
In order to fully comprehend the work, we see that significance comes from small details. A tree is the major symbol in this piece, and the details assist in understanding why the pear tree is so important. The method of seeing details as they occur allows readers to relate new details to those in the past. A whole and complete picture can be obtained this way with the details clearly laid out chronologically.
The story opens by presenting the audience with Bertha Young, a thirty-year old woman who feels as if she is a child again as she “wanted to run instead of walk, to take dancing steps on and off the pavement, to bowl a hoop, to throw something up in the air and catch it again, or to stand still and laugh at--nothing—at nothing, simply (143).” As she moves down the street, a feeling of absolute bliss overcomes her. This is where the reader begins to believe that he/she will receive an account of this woman’s wonderful day and of something fabulous that happened to her. Quite the contrary is true, however.
Bertha walks into her home, and the first negative images of the story are felt. Her dining room is described as “dusky” and “quite chilly (143).”...
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...e fulfilled. Bertha is a woman who has no desire, and Mansfield feels sympathy for her. Bertha is, however, evolving into a feeling, sexual person as she discovers her want to be with her husband physically.
The pear tree is the dominant symbol of this story. Although it shows Bertha’s sexuality, it also shows her resilience. She is able to weather storms and still be beautiful, as is the tree. At the end of the story, the tree is cast in the light of the moon. Since it has already been discussed that the moon symbolizes truth, the moon showing on the pear tree that is still healthy, Bertha will be able to move on and survive. The tree shows that life will go on, as will Bertha, even though she has taken this devastating blow.
Work Cited
Mansfield, Katherine. The Short Stories of Katherine Mansfield. New York: A.A. Knopf, 1937.
In the beginning, the pear tree symbolizes Janie’s yearning to find within herself the sort of harmony and simplicity that nature embodies. However, that idealized view changes when Janie is forced to marry Logan Killicks, a wealthy and well-respected man whom Janie’s Nanny set her up with. Because Janie does not know anything about love, she believes that even if she does not love Logan yet, she will find it when they marry. Upon marrying Logan, she had to learn to love him for what he did, not for that infallible love every woman deserves.
...es for love and overcame the social expectations of the quintessential woman in the nineteenth century; whereas their counterparts around them would have chosen class and wealth. Edna Pontellier’s decision to move into her pigeon house and away from her husband’s rule and the vexing job of caring for her children was viewed as societal suicide, but to her liberation and self-actualization as a woman was more important. Elizabeth Bennet ultimately disregarded her mother’s wishes, and passed over Mr. Collins, she initially disregarded Mr. Darcy as a possible suitor but love proved otherwise. These women were on a path of destruction to free themselves from a long reign of oppression, their challenge of conventional methods within the nineteenth century, proved successful not only to them, but for a future collective group of women who would follow in their footsteps.
Appealing to the reader’s emotions through stories is a commonly used technique, and Scelfo uses it beautifully. She starts the article out by introducing the reader to a young girl named Kathryn Dewitt. Whether they mean to or not, the reader develops some kind of emotional connection to this young girl. They feel as if they are a part of the story, for when
The coldness felt in the house as the sheriff and court attorney entered the house symbolized the same coldness brought about by Mr. Wright. For the house to be cold and gloomy and everything else outside the total opposite, was much more than just coincidence. It was as if when you entered the house a cadaver, cold and clammy, had embraced you in its arms. “ I don’t think a place’d be any cheerfuller for John Wright’s being in it”, Mrs. Hale told the court attorney (11). Mrs. Hale knew perfectly well what kind of personality Mr. Wright had, which is why she specified that she wished that she had gone to visit Mrs. Wright when only she was there. “There’s a great deal of work to be done on a farm”, says Mrs. Hale, yet they are seen as mere trifles because it is the women who take on these tasks.
In the short story, “The Story of an Hour,” author Kate Chopin presents the character of Mrs. Louis Mallard. She is an unhappy woman trapped in her discontented marriage. Unable to assert herself or extricate herself from the relationship, she endures it. The news of the presumed death of her husband comes as a great relief to her, and for a brief moment she experiences the joys of a liberated life from the repressed relationship with her husband. The relief, however, is short lived. The shock of seeing him alive is too much for her bear and she dies. The meaning of life and death take on opposite meaning for Mrs. Mallard in her marriage because she lacked the courage to stand up for herself.
...reader to walk away, giving anyone the chance who is willing to stand against the injustices of society. She uses her own personal afflictions in order to better create a stronger, individualized woman after the acquisition of hope. She uses her story; she enlists the help of the reader to put justice and hope back into society. Therefore, "Let us begin."
Throughout the novel, the pear tree represents Janie’s and many women’s quintessential view of what relationships should be like. Early in her life, Janie sat under a tree and noticed the interaction between a bee and a pear tree:
Mallard gets close to the window and sees the new outside life which a tall tree represents. The narrator shows, “The delicious breath of rain was in the air.” For Mrs. Mallard it can represent a lot of things, but this day she feels like it is a sign of her new beginning. Now she will have the opportunity to be herself and not to be what everyone wants her to be. “She [is] young, with a fair, calm face, whose lines bespoke repression and even a certain strength.” She has an entire life in front of her eyes, which now she is able to do what she wants with anyone on her back stopping her. The narrator shows the reader how Mrs. Mallard is not going to live for someone else but herself and even though “…she [loves] him—sometimes. Often she [doesn’t]” No matter how much Brently loves her, sometimes Mrs. Mallard does not feel like loving
America is one of the wealthiest nations on earth with having a high inequality than other industrialized country. Inequality exists in income, wealth, power and education. Persons who are legally and socially poor in the United states tend to stay in a cycle through life, not always by choice but because they are given fewer opportunities, education and tools to achieve success. Poverty class has a much larger income gap than the upper class, the American Dream is lessens through opportunity and is shown through statistics.
The point of view that Katherine Mansfield has chosen to use in "Miss Brill" serves two purposes. First, it illustrates how Miss Brill herself views the world and, second, it helps the reader take the same journey of burgeoning awareness as Miss Brill.
The imagery portrayed in the first half of the story is solemn, melancholy and grim depicting the protagonist, Mrs. Mallard, is effortlessly flabbergasted at the harsh news of her husband, Brently Mallard’s disastrous death. In hearing the news of Brently’s premature death, Mrs. Mallard immediately accepts his death and is overcome with grief and leaves to her room unaccompanied. It is in her room, which she peers through the window contemplating on the recent news that she has received, when there is an overall shift to the
American society today is epitomized by the growing divide between rich and poor. What is significant about this fact is that both ends of the spectrum are accelerating away from each other, with poor individuals sliding further still into the doldrums of poverty, while those that have enjoyed success in the past to a large degree continue to accumulate even larger sums of riches.
...is on a downhill trend from the beginning, even his very tone expresses his desires and sadness. He is a little boy with a big crush in an even bigger world, where thing don’t always go as expected. The boy acknowledges this in his innocent heart and soul, at the carnival, when he is deprived of accomplishing his biggest and most important journey; bringing his love something very special from Araby. This task was extremely vital to him, and it was left uncompleted. The reason that the boy could not get to Araby on time was because his uncle arrived home late, because he had forgotten about him. That was a very cruel thing to do knowing how important this was for his nephew, he reminded his uncle many times. The uncles response was “ The people are in bed and after their fist sleep now( )”. The motif of decay is seen in some symbolism too. The apple tree in the wild garden is symbolic to the tree of knowledge. However, the tree in the story is wild, meaning that knowledge is limited in the neighborhood. For example, when the previous owner, the priest, of the boy’s house had died, he had given all his money to charity and left his sister with nothing but old and used furniture.
When Laura was sent down to the dead man’s cottage with a basket of leftovers, she sees happiness and beauty in the dead man’s face, and the strange intellect of life hits her straight in the face (114). The man is dead, but he seems to be sleeping peacefully. Furthermore, Katherine Mansfield is a profound artist that has a superior way with words. Mansfield could get to the precise certainty in her writing (43). However, she does it in minor, insignificant little bits and pieces of experience which no one but a delicate artist would indicate or think the value of noticing (43). “In “The Garden Party”, she talks about that absolute inward look that only comes from whipped cream. I do not know whether you feel there, as I do, the intense absorption that is partly the joy of eating whipped cream, partly to the fear of messing. Her similes can be exactly true, so that they are not similes at all but true metaphor. In one of her letters she talks about a “sea like quilted silk” and a whole flock of little winds”. All this is “purity”, perhaps, on a lower level, but it is part of her quality” (43). In Mansfield’s way of writing, she makes her collection of books easily to read and understand. Moreover, Mansfield’s short stories are superlative because a vast number of stories can be
Katherine Mansfield belongs to a group of female authors that have used their financial resources and social standing to critique the patriarchal status quo. Like Virginia Woolf, Mansfield was socioeconomically privileged enough to write influential texts that have been deemed as ‘proto-feminist’ before the initial feminist movements. The progressive era in which Mansfield writes proves to be especially problematic because, “[w]hile the Modernist tradition typically undermined middle-class values, women … did not have the recognized rights necessary to fully embrace the liberation from the[se] values” (Martin 69). Her short stories emphasized particular facets of female oppression, ranging from gendered social inequality to economic classism, and it is apparent that “[p]oor or rich, single or married, Mansfield’s women characters are all victims of their society” (Aihong 101). Mansfield’s short stories, “The Garden Party” and “Miss Brill”, represent the feminist struggle to identify traditional patriarchy as an inherent caste system in modernity. This notion is exemplified through the social bonds women create, the naïve innocence associated with the upper classes, and the purposeful dehumanization of women through oppressive patriarchal methods. By examining the female characters in “The Garden Party” and “Miss Brill”, it is evident that their relationships with other characters and themselves notify the reader of their encultured classist preconceptions, which is beneficial to analyze before discussing the sources of oppression.