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English literature
Applying dream interpretation to literature
Applying dream interpretation to literature
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In a world of manifest superheroes, Mrs. de Winter, in Daphne du Maurier’s novel, Rebecca, though quite an unanticipated heroine, proves to be selfless and courageous, the very definition of a hero. Her name never being mentioned, Mrs. de Winter, also the story’s narrator, stands in direct contrast to the story’s vilest character, Rebecca, and her sinister housekeeper, Mrs. Danvers. By observing the characters and setting of Rebecca, we manage to catch a glimpse of the author’s personal life and how it may have influenced the writing of her novel. The daughter of two actors, Sir Gerald du Maurier and Muriel Beaumont, Daphne du Maurier grew up in the Menabilly mansion in Cornwall, England. Her childhood home is thought to be represented by Manderley in Kerrith, the setting in which Rebecca takes place (Dame Daphne du Maurier). Du Maurier is known to have been extremely fond of Menabilly and uses poetry in Rebecca to express Mrs. de Winter’s deep love for Manderley, which is thought to resemble du Maurier’s own feelings toward her childhood home. It is curious that both love and poetry are highlighted in this book, whose genre is “crime, gothic, mystery”, and yet du Maurier makes it blend perfectly into the plot. DuMaurier’s descriptions of Manderley are like paintings of beautiful scenery and easily make the reader feel as if they are presently gazing upon the sight itself. “Somehow I guessed, before going to the window, that the room looked out upon the rhododendrons. Yes, there they were, blood-red and luscious, as I had seen them the evening before, great bushes of them, massed beneath the open window, encroaching onto the sweep of the drive itself. There was a little clearing too, between the bushes, like a miniature lawn... ... middle of paper ... ...leave by telling her that “Rebecca was still mistress of Manderley. Rebecca was still Mrs. de Winter” (du Maurier, 233). But Mrs. Danvers has little success, Mrs. de Winter daringly crosses Mrs. Danvers and proves to her that she has the spirit to ‘stick with it’. More so, even after Maxim reveals to her his secret, that he killed Rebecca, she continues to stand by his side and love and support him until the end. Though not the regular feats of modern superheroes, Mrs. de Winter’s own struggles and battles won, make her a valiant, and self-sacrificing “backdoor hero”. Her willingness to stand up to characters more powerful than she, such as Rebecca and Mrs. Danvers, is exemplary. Daphne du Maurier’s Rebecca, is the perfect place for a heroine to rise from the ashes, and it all starts with a dream, “Last night I dreamt I went to Manderley again…” (du Maurier, 1).
Catharine Maria Sedgewick’s heroine and title character of Hope Leslie does not convey the expected behaviors of a woman living in 17th century Puritan society. Hope Leslie is not a passive young woman that relies on the Bible for all advice and guidance. She does not stay quiet if something is on her mind. She refuses to allow the innocent to receive persecution for the wrong reasons. Hope is assertive, aggressive, courageous, bold, and quite outspoken. The characteristics that she portrays are atypical to those portrayed by 17th century women. Instead, Hope’s attitude and behavior more closely resemble that of a female from the 21st century living in an era not meant for her.
Eliza's assaults against True Womanhood are violations of the virtues submissiveness and purity. When Eliza refuses to ignore the gallantry of Major Sanford in favor of the proposals of Reverend Boyer despite the warnings of her friends and mother, she disregards submissiveness in favor of her own fanc...
Daphne Du Maurier's Rebecca Rebecca has been described as the first major gothic romance of the 20th century; Mrs. Danvers’ character is one of the few Gothic interests within the novel. Her unnatural appearance and multi-faceted relationship with Rebecca provides scope for manifold interpretations and critical views. Furthermore, Mrs. Danvers connection with Rebecca and Manderlay is a sub-plot in itself, making Mrs. Danvers the most subtly exciting character in the novel.
Clements, Victoria. Introduction. A New-England Tale. By Catharine Maria Sedgwick. New York: Oxford University Press, 1995.
The heroine, Mrs. P, has some carries some characteristics parallel to Louise Mallard in “Hour.” The women of her time are limited by cultural convention. Yet, Mrs. P, (like Louise) begins to experience a new freedom of imagination, a zest for life , in the immediate absence of her husband. She realizes, through interior monologues, that she has been held back, that her station in life cannot and will not afford her the kind of freedom to explore freely and openly the emotions that are as much a part of her as they are not a part of Leonce. Here is a primary irony.
Gilbert, Sandra M., and Susan Gubar. The Madwoman in the Attic. Second ed. N.p.: Yale University Press, 2000. Print.
Mrs. Mallard’s repressed married life is a secret that she keeps to herself. She is not open and honest with her sister Josephine who has shown nothing but concern. This is clearly evident in the great care that her sister and husband’s friend Richard show to break the news of her husband’s tragic death as gently as they can. They think that she is so much in love with him that hearing the news of his death would aggravate her poor heart condition and lead to death. Little do they know that she did not love him dearly at all and in fact took the news in a very positive way, opening her arms to welcome a new life without her husband. This can be seen in the fact that when she storms into her room and her focus shifts drastically from that of her husband’s death to nature that is symbolic of new life and possibilities awaiting her. Her senses came to life; they come alive to the beauty in the nature. Her eyes could reach the vastness of the sky; she could smell the delicious breath of rain in the air; and ears became attentive to a song f...
Neil Gaiman’s “Snow, Glass, Apples” is far from the modern day fairy tale. It is a dark and twisted version of the classic tale, Snow White. His retelling is intriguing and unexpected, coming from the point of view of the stepmother rather than Snow White. By doing this, Gaiman changes the entire meaning of the story by switching perspectives and motivations of the characters. This sinister tale has more purpose than to frighten its readers, but to convey a deeper, hidden message. His message in “Snow, Glass, Apples” is that villains may not always be villains, but rather victims.
It is the aim of this piece to consider how two elements are developed in the opening chapters of three classic novels written by 19th century English women: Emma, Wuthering Heights, and Jane Eyre, respectively. The elements to be considered are a) character; and b) character relationships. Consideration will be given to see how each opening chapter develops these two aspects, and the various approaches will be compared and contrasted as well.
Clarissa Dalloway and Peter Walsh are defined by their memories. Virginia Woolf creates their characters through the memories they share, and indeed fabricates their very identities from these mutual experiences. Mrs. Dalloway creates a unique tapestry of time and memory, interweaving past and present, memory and dream. The past is the key to the future, and indeed for these two characters the past creates the future, shaping them into the people they are on the June day described by Woolf. Peter and Clarissa’s memories of the days spent at Bourton have a profound effect on them both and are still very much a part of them. These images of their younger selves are not broad, all-encompassing mental pictures, but rather the bits and pieces of life that create personality and identity. Peter remembers various idiosyncracies about Clarissa, and she does the same about him. They remember each other by “the colours, salts, tones of existence,” the very essence that makes human beings original and unique: the fabric of their true identities (30).
The extensive descriptions of Mrs. Dalloway’s inner thoughts and observations reveals Woolf’s “stream of consciousness” writing style, which emphasizes the complexity of Clarissa’s existential crisis. She also alludes to Shakespeare’s Cymbeline, further revealing her preoccupation with death as she quotes lines from a funeral song. She reads these lines while shopping in the commotion and joy of the streets of London, which juxtaposes with her internal conflicts regarding death. Shakespeare, a motif in the book, represents hope and solace for Mrs. Dalloway, as his lines form Cymbeline talk about the comforts found in death. From the beginning of the book, Mrs. Dalloway has shown a fear for death and experiences multiple existential crises, so her connection with Shakespeare is her way of dealing with the horrors of death. The multiple layers to this passage, including the irony, juxtaposition, and allusion, reveal Woolf’s complex writing style, which demonstrates that death is constantly present in people’s minds, affecting their everyday
As stated in the critical anthology, many feminist critics “re think the canon, aiming at the rediscovery of texts written by women”. An understanding of feminism encourages the reader to discover alternative interpretations of the poems in The World’s Wife. It not only allows the reader to gain a wider understanding of the representations of women, but it highlights revisionism of the original story. Feminists such as CA and Angela Carter have exposed the patriarchal structure that is in fairy tales by rewriting the original stories. This is particularly evident in “The Little Red Cap”.
Beginning Gibert and Gubar’s piece about the position of female writers during the nineteenth century, this passage conjures up images of women as transient forms, bodiless and indefinite. It seems such a being could never possess enough agency to pick up a pen and write herself into history. Still, this woman, however incomprehensible by others, has the ability to know herself. This chapter of The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination, titled “The Queen’s Looking Glass,” discusses how the external, and particularly male, representations of a woman can affect her so much that the image she sees in the mirror is no longer her own. Thus, female writers are left with a problem. As Gibert and Gubar state, “the woman writer’s self-contemplation may be said to have begun with a searching glance into the mirror of the male-inscribed literary text. There she would see at first only those eternal lineaments fixed on her like a mask…” (Gilbert & Gubar, 15). In Charlotte Brontë’s Villette, the narrator and heroine Lucy Snowe is faced with a great deal of “reflections” which could influence her self-image and become detrimental to her writing. However, she is aware that the mirrors she finds, whether the literal mirror of the looking glass or her reflection in other characters’ ...
Very few novels in American Literature can earn the title of timeless. These novels transcend the ages, because they possess a greater meaning. Their stories teach people about life, the glory of the human soul, and all it can endure to overcome. Three novels in particular get to the very heart of feminine struggle. Though they touch not on women’s struggle to vote, they reach the higher plain of women’s struggle to be seen as who they are and not what society wants them to be. To Kill a Mockingbird, The Color Purple and The Bluest Eye all deal with the topic of women trying to overcome society. Although these novels were written in the mid to later half of the twentieth century, they go back to a time when the Great Depression was touching all walks of human life. Each of the main characters in these novels does not fit society’s view of femininity during the time period. Although the main characters in the three stories do not fit society’s idea of femininity, they each, in their own way, overcome this and show a greater beauty of strength.
It is expected of woman to shatter into crisis as news of her husband’s death is exposed. In this reading, the author presents a widow named Louise Mallard, who against all odds dares to expose her desired dream. Mrs. Mallard subdues an unexpected reaction as she was notified of Mr. Mallard’s death. With sense of relief, she disgracefully mourns his absence. Yet, despite the horrendous news, Louise was powerless as a transparent feeling of joy approached her heart. Freedom was gifted. She “opened and spread her arms out…”