Professor Mahir English 2205 1 May 2015 Jewett and Garland's Difference in Realism: Light Versus Shadow Sarah Orne Jewett and Hamlin Garland's worlds differ in the ways they are observed and represented. Jewett's "A White Heron" illustrates internal conflict between Sylvia's love for nature and her infatuation with the hunter who seeks to capture the heron. Conversely, the world in Garland's "Under the Lion's Paw" calls attention to external conflicts such as the challenges the struggling farmer and his family face. In addition, Garland draws attention to class division and associates land ownership with greed. Jewett and Garland also differ in their writing styles and their portrayals of regionalism during the 1890s era. The characters' …show more content…
actions in both stories are strongly influenced by their self-will. Jewett and Garland each use specific techniques to reveal their own unique realist approaches to fiction writing. Though they differ in their representations, both writers illustrate the worlds in which their characters live. Each author's writing style suits the world that is depicted in each stories. The difference between these pieces of writing is that Jewett's realism is full of light while Garland's realism is full of shadow. Jewett's realism depicts a world full of light in "A White Heron." Sylvia lived on a one- pasture, one-cow land; to this young lady, this small piece of land was the whole world. Sylvia is exposed to a new world when the hunter asks for her help, and her infatuation with the hunter and her wish to impress him motivates her to go all the way up the highest tree in search of the white heron's location. Sylvia's love for nature is overpowered by her willingness to act on the hunter's behalf. After she climbs a tree, she sees the ocean. According to "Romantic Flight in Jewett's 'White Heron,' "Sylvia's climb to the top of the old pine is a virtual appropriation of the traditional role of the phallus. Sylvia is not only an active participant in nature, she is master of her natural world and her own will" (Church). Her discovery leads to an awakening in her exposure. In the story, the hunter never marginalizes Sylvia in any way. In addition, Sylvia occupies her whole world throughout the story. The world represented and observed in "A White Heron" is full of light and hope and is open to light and exposure. This story also illustrates conflict between Sylvia's love for nature and her infatuation with the hunter who seeks to capture the heron. Jewett portrays Sylvia as a shy, innocent 9-year-old girl, who has fallen deeply in love with the hunter but is forced to make a difficult decision between man and nature. Although the hunter is polite and offers Sylvia $10 for the heron's whereabouts, Sylvia is uncomfortable with the fact that the hunter is selfish enough to kill what he claims to love. Jewett poses the conflict within man to choose between nature and society and determine which could bring more fulfillment into one's life. Sylvia suffers a similar internal conflict when she must decide between her love of preserving nature and succumbing to her infatuation with the hunter. Despite the dark decision she faces, Sylvia is in tandem with her environment and basks in the light. This contrasting idea illustrates how Jewett focuses on displaying realism. In "A White Heron," Jewett uses several devices and techniques to reveal her realist approach to fiction writing. One technique that is shown throughout this short story is her feminist approach. Jewett was unmarried and independent of a man. The author chooses for Sylvia to pursue the heron's help versus the help of the nameless hunter. Jewett depicts Sylvia as one who is able to keep the secrets of nature, and as one whose life is better off as is, meaning she should not follow her womanly desires. At the end of the story, Jewett invites the reader to consider whether Sylvia has made the right decision; she writes, "Were the birds better friends than their hunter might have been, -who can tell?" (Jewett 537). This passage shows Jewett's use of rhetorical devices. Additionally, she uses similes as another device. Jewett states, "Sylvia's face was like a pale star, if one had seen it from the ground, when the last thorny bough was past, and she stood trembling and tired but wholly triumphant, high in the treetop" (536). As it is represented, the use of figurative language depicts Jewett's realism in "A White Heron." Another technique that Jewett uses is symbolism. According to "Young Goodman Brown' and 'A White Heron': Correspondence and Illuminations, "The hunter represents a combination of masculine aggressiveness and scientific detachment linked to 'a wave of human interest,' an entry into "the great world," and a hazy promise of love. The grandmother offers very real love, but represents the alternative to the hunter's promise: a world of actual experience, of loss, penury, and pain" (Zanger). Jewett also uses foreshadowing to reveal her realist approach. In this passage, Jewett states, "Whatever treasures were lost to her, woodlands and summer-time, remember! Bring your gifts and graces and tell your secrets to this lonely country child!"(537). This passage enlightens the readers on what nature might reward Sylvia with if she chooses her love for nature over her infatuation with man. Another device Jewett uses in her story is imagery. Jewett states, "First she must mount the white oak tree that grew alongside, where she was almost lost among the dark branches and the green leaves heavy and wet with dew; a bird fluttered off its nest, and a red squirrel rant to and fro and scolded pettishly at the harmless housebreaker" (536). Jewett uses many techniques to reveal her realist approach to fiction writing. Although Hamlin Garland uses a similar realist approach, the world depicted in "Under the Lion's Paw" is vastly different.
Hamlin Garland depicts a world full of shadow in Tim Haskin and his family's life in "Under the Lion's Paw." Garland uses the life of an everyday farmer, Tim Haskin, who believes in hard work and honesty and is overshadowed by the higher powers that unfortunately marginalize his authority. Scharnhorst and Quirk states, "Garland explained the loneliness of the farmer’s lot.' His farmers are determined, though their struggle for survival traps them in a life determined by outside forces: an indifferent, often hostile environment and an unjust, competitive society." This story shows the advantage of Jim Butler, which draws a line between two social classes. Hamlin Garland was originally raised in Osage, Iowa on a farm. According to the author's information in The American Tradition in Literature, "Garland saw the lonely toil and hardships of the farmer's lot from a new perspective when he revisited his old home in Iowa. Brooding and resentful at the waste of life that his family experienced, Garland began writing immediately after his return to Boston"(Perkins and Perkins 675). Garland's stories come from his personal experience of growing up on a farm and seeing the hardships that his family and people around him struggled
with. The setting of "Under the Lion's Paw" is in 1890s rural America in the South. In the story, it is easy to see that the "lion" is Jim Butler. Jim has so much control over this little town that he uses his power to take advantage of Mr. Haskin. This story gives readers emotional perspective and helps depict what it is like to be under Butler's paw, trapped and fighting to make ends meet. After reading about Garland's life, one may conclude that Tim Haskin resembles Garland's father. There are three different kinds of conflict that occur in this story: man vs. man, man vs. himself, and man vs. power. The characters seem to be overshadowed by Jim Butler and his advantages in the town, and as a result, the decisions the characters make seem to be empowering or not empowering based on the degree of dimness they experience. Additionally, the environment seems to be antagonistic. The motives of Jim Butler undermine the honest living of Tim Haskin and fuel a divide between two social classes. In "Under the Lion's Paw," Hamlin Garland uses many devices and techniques that reveal his realistic approach to fiction writing. According to "Modern Regionalism in Willa Cather's The Professor's House," "Garland's story 'Under the Lion's Paw' perfectly captures a regional text addressing modern social themes through the attempts of his protagonist, the tenant farmer Tim Haskins, to buy the farm he has improved from a corrupt land speculator" (Squire). The style of this story is also very important because it makes the life of Tim Haskin more relatable and realistic. Throughout this story, one device that is used is southern diction and harsh regionalism. One example of Garland's use of southern diction is when Mr. Haskins expresses his thoughts to his wife, "There are people in this world who are good enough t' be angels, an' only haff t' die to be angels" (Garland 679). Like Jewett, Garland also uses symbolism as another technique to reveal his realistic approach to fiction writing. In the title "Under the Lion's Paw," Teorey states, "Garland's lion's paws, allow the large animal to dominate the weaker beings living in its domain." The title obviously symbolizes Jim Butler's cruel undermining of the Haskin family in their time of despair. Another technique Garland engages in is his use of imagery. Garland states, "Butler backed away from the man in wild haste, and climbing into his buggy with trembling limbs drove off down the road, leaving Haskins seated dumbly on the sunny pile of sheaves, his head sunk into his hands" (685). One last technique that Garland uses in his story is common metaphors. Garland states, "It's a good bargain, an' y' want 'o nail it" (682). As one can see, Garland uses many devices and techniques to reveal his realist approach to fiction writing. The worlds of Sarah Orne Jewett and Hamlin Garland have several similarities that tie them as writers and individuals. Although Jewett and Garland differ in their representations of their stories, they are the same in their regionalist fiction writing. Both writers have a love for raw nature that is very obvious in both of their stories. In "A White Heron," Sylvia battles with her respect for nature versus her innocent affection for the nameless hunter, and ultimately she chooses nature in the end. One difference that can be inferred between their writing styles is that in "A White Heron," Sylvia makes all the decisions and would be considered the protagonist because she defends nature and is able to gracefully turn down the hunter. However, in "Under the Lion's Paw," Tim Haskin and his family are under stress and turmoil from a very greedy man. Although Tim Haskin is considered the protagonist, Jim Butler undermines the characters and casts a dark cloud over Haskin's triumphs. Tim Haskin does not have self-willed motives because those who have power over him prevent him from making his own decisions in his world. Sylvia lives on a smaller piece of land, which is open to light and hope. Since the hunter never undermines her presence, she never feels secondary to the hunter. Thus, she is able to make her own decision despite her age. Regarding self-will, Sylvia is a very self-willed person because she knows herself and is able to stand up to the hunter. However, in "Under the Lion's Paw," the world seems to undermine and marginalize the main character. These stories present two realities that are starkly different. Both authors have a realistic approach to fiction writing; yet, they both have their own perceptions that are observed and represented differently in their stories. In "A White Heron," Sylvia struggles with her internal conflict between her infatuation with the hunter and her genuine love for nature. In "Under the Lion's Paw," Tim Haskin struggles with the external conflict between the villainous Jim Butler and Tim's bad luck. In short, Sarah Orne Jewett illustrates a world full of light and optimism while Hamlin Garland illustrates a world of shadow and pessimism.
“Winter lies too long in country towns; hangs on until it is stale and shabby, old and sullen” (“Brainy Quotes” 1). In Edith Wharton’s framed novel, Ethan Frome, the main protagonist encounters “lost opportunity, failed romance, and disappointed dreams” with a regretful ending (Lilburn 1). Ethan Frome lives in the isolated fictional town of Starkfield, Massachusetts with his irritable spouse, Zenobia Frome. Ever since marriage, Zenobia, also referred to as Zeena, revolves around her illness. Furthermore, she is prone to silence, rage, and querulously shouting. Ethan has dreams of leaving Starkfield and selling his plantation, however he views caring for his wife as a duty and main priority. One day, Zeena’s cousin, Mattie Silver, comes to assist the Frome’s with their daily tasks. Immediately, Mattie’s attractive and youthful energy resuscitates Ethan’s outlook on life. She brings a light to Starkfield and instantaneously steals Ethan’s heart; although, Ethan’s quiet demeanor and lack of expression causing his affection to be surreptitious. As Zeena’s health worsens, she becomes fearful and wishes to seek advice from a doctor in a town called Bettsbridge giving Ethan and Mattie privacy for one night. Unfortunately, the night turns out to be a disastrous and uncomfortable evening. Neither Ethan nor Mattie speaks a word regarding their love for one another. Additionally, during their dinner, the pet cat leaps on the table and sends a pickle dish straight to the floor crashing into pieces. To make matters worse, the pickle dish is a favored wedding gift that is cherished by Zeena. Later, Zeena discovers it is broken and it sends her anger over the edge. Furious, Zeena demands for a more efficient “hired girl” to complete the tasks ar...
Often times, a seemingly simple story can convey complex themes. In her short story “A White Heron,” Sarah Orne Jewett is able to dive into the sexuality of her main character Sylvia. Though seemingly innocent on the surface, the reader might interpret the hunt for the elusive white heron as Sylvia’s discovery of herself and her sexuality. Though sexuality may seem like a mature topic for such a young character, it is irresponsible to completely ignore it. Especially in a story with innuendos that rival a romance novel. Jewett uses sexual undertones in the search for a white heron to bring light to Sylvia’s questioning of her sexuality.
Baym, Nina, Arnold Krupat, Robert S. Levine, and Jeanne Campbell Reesman: Hamlin Garland. "Under the Lion’s Paw." The Norton Anthology of American Literature. 8th ed. Vol. C. New York, NY: Norton, 2012. 736-46. Print.
The story also focuses in on Ruth Younger the wife of Walter Lee, it shows the place she holds in the house and the position she holds to her husband. Walter looks at Ruth as though he is her superior; he only goes to her for help when he wants to sweet talk his mama into giving him the money. Mama on the other hand holds power over her son and doesn’t allow him to treat her or any women like the way he tries to with Ruth. Women in this story show progress in women equality, but when reading you can tell there isn’t much hope and support in their fight. For example Beneatha is going to college to become a doctor and she is often doubted in succeeding all due to the fact that she is black African American woman, her going to college in general was odd in most people’s eyes at the time “a waste of money” they would say, at least that’s what her brother would say. Another example where Beneatha is degraded is when she’s with her boyfriend George Murchison whom merely just looks at her as arm
Sarah Orne Jewett's "A White Heron" is a brilliant story of an inquisitive young girl named Sylvia. Jewett's narrative describes Sylvia's experiences within the mystical and inviting woods of New England. I think a central theme in "A White Heron" is the dramatization of the clash between two competing sets of values in late nineteenth-century America: industrial and rural. Sylvia is the main character of the story. We can follow her through the story to help us see many industrial and rural differences. Inevitably, I believe that we are encouraged to favor Sylvia's rural environment and values over the industrial ones.
Since its first appearance in the 1886 collection A White Heron and Other Stories, the short story A White Heron has become the most favorite and often anthologized of Sarah Orne Jewett. Like most of this regionalist writer's works, A White Heron was inspired by the people and landscapes in rural New England, where, as a little girl, she often accompanied her doctor father on his visiting patients. The story is about a nine-year-old girl who falls in love with a bird hunter but does not tell him the white heron's place because her love of nature is much greater. In this story, the author presents a conflict between femininity and masculinity by juxtaposing Sylvia, who has a peaceful life in country, to a hunter from town, which implies her discontent with the modernization?s threat to the nature.
Nine-year-old Sylvia is a child who lives in the wood. Her name, ‘‘Sylvia,’’ and her nickname, ‘‘Sylvy,’’ come from the Latin silva meaning ‘‘wood’’ or ‘‘forest.’’ Sylvia lives in the middle of the woods with grandma Tilley and hardly sees anyone else. She remembers when she lived in the city but never wants to return there. However, when she comes across a hunter who is an older man, she enjoys being around another human being and is not sure what to do with the conflicting emotions she starts to feel. He offers to give her money in exchange for giving up the nesting spot of the white heron. She is the only person who can give him what he needs. What she has to think about though is the betrayal of her relationship with nature and whether or not it is worth it. In the end, she does not reveal the heron’s nesting place.
“Perhaps the most obvious meaning of "’A White Heron’" comes from the female creation, or re-creation, myth Jewett offers. The story presents a little girl whose world is entirely female. No brother, father, uncle, or grandfather lives in it; the men have feuded and left or died. Only she and her grandmother inhabit the rural paradise to which the child was removed after spending the first eight years of her life in a noisy manmade mill-town…In the country with her grandmother she is safe. Named Sylvia (Latin for "woods")” (Ammons
comprehends by writing it in a certain point of view. In Rios’ “The Secret Lion,” the first
The stories Remembering My Childhood on the Continent of Africa and Self-Discovery and the Danish Way of Life are easily comparable. The narrators of both stories write about a time in which they are experiencing a different culture. They also write about their yearnings for self-discovery through exotic experiences. The viewpoints, however, of each writer are at opposite ends of the spectrum. In Self-Discovery and the Danish Way of Life, the narrator writes about his international experiences while studying abroad in Denmark. On the other hand, in Remembering My Childhood on the Continent of Africa, the narrator never actually visits Africa. Instead, he figuratively visits the continent through the experiences of another person. These stories may appear to be similar because of the comparable aspirations of the narrators. However, they are also different with respect the narrators’ unique viewpoints on life.
Short stories are a form of literature works that authors use to communicate various themes and issues to the reader. As such, it is common for different short stories authored by different people to have a central meaning or theme that differs from each other. In addition, the way the author portrays his/her central theme or meaning would differ from the way other authors would craft their short stories to best portray their central meaning. While some would use characterization as a means of portraying the theme of their story, other authors employ the use of symbols to better communicate their theme. However, some slight similarities can always be drawn between short stories. ‘Hills like White
d. Brently Mallard: Mrs.Mallard's husband. He was supposed to be dead. · Setting: The story takes place in Louise's house. · Theme: I think we can't live in oppression because that doesn't let us be free. We can find themes like the oppression by men, and women rights.
Thinking back to our childhood, we all remember hearing many kinds of fairy tales. Some of them inspired us others confused us, and most of them taught us valuable lessons. Through out centuries tales and stories have been used as a valuable tool to pass on our culture to new generations. There is a strong belief that these fairy tales mirror and influence society. All cultures interpret tales in their own unique way. They add and subtract various aspects of the tale to fit the needs of their particular society. The same tale in the United States is different from the tale told in Asia. A good example of tale evolution can be seen in one of the most famous tales ever told which is “Cinderella”. As a professor of women’s history Karol Kelley points out in her essay Pretty Woman: A Modern Cinderella “There are some 700 versions of Cinderella”.This fairy tale as many others has been changing for many years, and in recent years Cinderella has come under some criticism for its depiction of women’s roles in society.
Most modern fairytales are expected to have happy endings and be appropriate for children, nonetheless, in past centuries most were gruesome. Consequently, fairytales have been modified throughout time. The stories “Beauty and the Beast” by Jeanne-Marie LePrince de Beaumont and “The Summer and Winter Garden” by Jacob and Wilherm Grimm share similarities and differences. The two stories are distinct because of the peculiar year they have been written in. LePrince de Beaumont’s story is written in London of 1783 and Grimm’s in Germany of 1812. At the time, wealthy people in London, were educated and had nannies who would read to their children; whereas, in Germany, the Grimm brothers created their own interpretation into a short story. Because many high class parents in 18th century London would not be able to spend time with their children, nannies would read “Beauty and the Beast” to them since they were intended for children and considered appropriate. In “The Summer and Winter Garden,” the Grimm’s’ story was mostly based to entertain misbehaved children and teach them the valuable lesson that everyone should be treated with kindness. The Grimm brothers’ goal in rewriting this short story is to better children’s behavior which worked quite well. Since these stories have been re-written for children, it would be safe to say the reason why parents expose the two stories to their children is because they both portray the same moral: good things happen to good people. The two interpretations of “Beauty and the Beast,” although written in separate countries, share important similarities and differences even though the authors have different interpretations and came from different cultures.
For this week’s assignment I read a short story called “The Cowardly Lion and The Hungry Tiger” by L. Frank Baum. My favorite character is the Hungry Tiger. The Hungry tiger is friend of Cowardly Lion. They are guardians of princess Ozma in the Royal Throne Room. These two beasts were bored since people in Emerald City were not naughty and nobody seemed to fear them. One day the Hungry Tiger and the Cowardly Lion planned to escape from the Throne Room. The Hungry Tiger would eat a fat baby before he dies and the other would tear a man into sixty pieces, that way they both would gain importance and people would fall upon their knees and beg for mercy. When the Hungry Tiger came upon a fat baby he felt petty for the baby since the baby was lost