The Narrator Merges with Ottilie in Porter’s Holiday
“Ottilie, now silent, was doubled upon herself, slipping loosely on the edge of the seat. I caught hold of her stout belt with my free hand, and my fingers slipped between her clothes and bare flesh, ribbed and gaunt and dry against my knuckles. My sense of her realness, her humanity, this shattered being that was a woman, was so shocking to me that a howl as doglike and despairing as her own rose in me unuttered and died again, to be a perpetual ghost. Ottilie slanted her eyes and peered at me, and I gazed back. The knotted wrinkles of her face were grotesquely changed, she gave a choked little whimper, and suddenly she laughed out, a kind of yelp but unmistakably laughter, and clapped her hands for joy, the grinning mouth and suffering eyes turned to the sky.” (Page 434)
This passage shows how the narrator finalizes her exile from the story by merging with Ottilie. The storyteller excludes herself throughout the tale by never being identified with a name or origin; she is in a state of “perpetual exile.” The narrator allies herself with Ottilie halfway through the story when she describes a filament connecting them “so that her life and mine were kin, even a part of each other” (427). Here, they become one so that the narrator and her personal life safely disappear from the story. Ottilie “doubled upon herself” represents the doubling of the two women. In the next sentence, the words “her” and “my” are used back-and-forth five times, almost as if one possessive pronoun could be exchanged for the other. In this sentence, the narrator’s fingers slip between Ottilie’s clothing and flesh, and thus their bodily contact merges the two physically.
The following sentence describes Ottilie as a “shattered being,” perhaps because her new being is mixed with the narrator’s presence. The narrator never feels real in her own right, and it’s only when she senses the “realness” and “humanity” of Ottilie that she feels a breakthrough. However, she no longer has thoughts/feelings/sounds of her own; her reactionary howl is described as being Ottilitie’s as it rises unuttered and dies again. Therefore, the narrator finds her own identity when allied with Ottilie. She is hereafter described as a “perpetual ghost” because she no longer exists in and of herself, but in Ottilie.
And in this time she saw, as she thought, devils open their mouths, all inflamed with burning flames of fire as if they should have swallowed her in, sometimes menacing her, sometimes threatening her, sometimes pulling and hailing her both night and day during the foresaid time” (Kempe 7).
“It was a large, beautiful room, rich and picturesque in the soft, dim light which the maid had turned low. She went and stood at an open window and looked out upon the deep tangle of the garden below. All the mystery and witchery of the night seemed to have gathered there amid the perfumes and the dusky and tortuous outlines of flowers and foliage. She was seeking herself and finding herself in just such sweet half-darkness which met her moods. But the voices were not soothing that came to her from the darkness and the sky above and the stars. They jeered and sounded mourning notes without promise, devoid even of hope. She turned back into the room and began to walk to and fro, down its whole length, without stopping, without resting. She carried in her hands a thin handkerchief, which she tore into ribbons, rolled into a ball, and flung from her. Once she stopped, and taking off her wedding ring, flung it upon the carpet. When she saw it lying there she stamped her heel upon it, striving to crush it. But her small boot heel did not make an indenture, not a mark upon the glittering circlet.
Ghost- a vision of a dead person that is believed to appear or become visible to the living as a vague image. There have been many cases in reality where one sees the ghost of their deceased loved ones or encounter some sort of paranormal activity in their life. “Proof” by David Auburn plays around with the “Ghost story” in his play to represent identity, memory of Catherine.
Her family life is depicted with contradictions of order and chaos, love and animosity, conventionality and avant-garde. Although the underlying story of her father’s dark secret was troubling, it lends itself to a better understanding of the family dynamics and what was normal for her family. The author doesn’t seem to suggest that her father’s behavior was acceptable or even tolerable. However, the ending of this excerpt leaves the reader with an undeniable sense that the author felt a connection to her father even if it wasn’t one that was desirable. This is best understood with her reaction to his suicide when she states, “But his absence resonated retroactively, echoing back through all the time I knew him. Maybe it was the converse of the way amputees feel pain in a missing limb.” (pg. 399)
Throughout her transformation, she does not only lose her unwanted body parts but also herself. She was “born as usual.” She was “healthy.” She was “intelligent.” Yet, she “offered” her body and became an object for others to point and critique at. Upon the judgments that are harshly thrown at the poor child, “her good nature [was] worn out/like a fan belt.” The poet creates this simile and the tone of insecurity to show that over a long period of time she is no longer able to take in any more criticism. She cannot be “apologizing” any more for how she is. Thus, she conforms to the ways of society by having pieces of her cut off. She becomes a doll, an object that does not live life and that is easily wielded and manipulated by others. This child takes her own freedom away, a freedom that Louise from Chopin’s work strives
...e will be lost as sudden lightning or as wind. And yet the ghost of her remains reflected with the metal gone, a shadow as of shifting leaves at moonrise or at early dawn. A kind of rapture never quite possessed again, however long the heart lays siege upon a ghost recaptured in a web of song – Tennessee Williams” (Hoare).
Chopin, Kate. “The Story of an Hour.” Backpack Literature: An Introduction to Fiction, Poetry, Drama, and Writing. Eds. X. J. Kennedy and Dana Gioia. 3rd ed. New York: Pearson, 2010. 261-263. Print.
Chopin, Kate. “The Story of an Hour.” Literature: Reading Fiction, Poetry, and Drama. Ed. DiYanni Robert. 6th ed. New York: McGraw-Hill, 1986. 38-41. Print.
In Kate Chopins “Story of the Hour”, several elements contribute to the overall meaning of the story itself.
ghost come back to life, a random woman who came to fulfill the needs. of the protagonists, and the view of, does it really matter? These possibilities will be discussed throughout the duration of this essay. and it will be left to you to decide what you think. In the support of Beloved actually being the baby ghost re-born, you could use the fact.
In “The Story of an Hour”, Kate Chopin effectively illustrates the broadness of Louise Mallard’s selfish emotions in the wake of the news of her husband’s death. Through Louise Mallard’s transformation from first a repressed wife to liberated widow, Chopin uses imagery, symbolism and irony to help the reader better understand the emotional internal self-centered bliss the main character acknowledges.
Mrs. Mallard is an ill woman who is “afflicted with heart trouble” and had to be told very carefully by her sister and husband’s friend that her husband had died (1609). Her illness can be concluded to have been brought upon her by her marriage. She was under a great amount of stress from her unwillingness to be a part of the relationship. Before her marriage, she had a youthful glow, but now “there was a dull stare in her eyes” (1610). Being married to Mr. Mallard stifled the joy of life that she once had. When she realizes the implications of her husband’s death, she exclaims “Free! Body and soul free!” (1610). She feels as though a weight has been lifted off her shoulders and instead of grieving for him, she rejoices for herself. His death is seen as the beginn...
The conflict continues in the next passage, “She did not hear the story as many women have heard the same, with a paralyzed inability to accept its significance. She wept at once, with sudden, wild abandonment, in her sister's arms. When the storm of grief had spent itself she went away...
Today was the day, months and months of practice and rehearsals leading up to today. The advice my mom had given me still running through my head, whatever happens it's part of the show, the audience does not exist, live the show. I was ready, as the opening music number was just starting up i walked on to the stage and the show began!
The intention of reflective practice is to help the teacher/learning coach evolve and develop the quality of their teaching by the continuation of personal development. Although most teachers have done this for years, reflective modelling or methods have formulized a structure which can be followed and adapted to best suit their methods. It is an ongoing process which takes feelings and emotions into consideration and so it will not always have a definitive answer/ending. Since most models of reflection require subjective and objective thinking then there is a willingness to be honest to engage constant self appraisal. It asks that the teacher become flexible analytical and socially aware when addressing their chosen model of reflection.