Analysis Of Sylvia 's ' The Old Place '

The beauty of the story is about authentically conveying the author’s emotion experience, depicting the true feeling of the characters, and delivering the thought process by putting readers into their shoes, in order to create resonance with the readers, like her emotion for the love of nature, for her struggle towards money, and for the crush she had towards the hunter. Sylvia’s love of nature showed from “As for Sylvia herself, it seemed as if she had never been alive at all before she came to live at the farm. (5)”. She found her real self here, embracing the nature, knowing every life that lived here, and fully enjoying the freedom in the woods, just like a jungle fairy.

Starting of with “A White Heron”, the story starts with a mellow, quiet mood. Sylvia is walking in the woods with her companion, her cow. Jewett includes words and phrases such as “childish patience” and “the little girl” that makes the reader grasp the idea of Sylvia being a child. The fact that Sylvia hears the whistle of the stranger and hides also show the idea of her being a young child. The first day meeting the stranger, Sylvia seems reserved and not paying much attention to him talking about the white heron, even when he confesses to pay ten dollar for anyone who helps him find it. Soon enough, Sylvia develops a crush on the hunter. She does go in the woods with him for his needs to find the white heron but she does not disclose where the bird could be, it seemed as if she just wanted to enjoy his company. When Sylvia goes on her

Sylvia finally reaches the top of the tree and captures the immense beauty of the forest. The whole forest represents her innocent nature which strengthens her connection to it. The imagery above the forest develops into the inciting incident for her change of will. She sees “The golden sun’s rays hit the green forest. Two hawks flew together in slow-moving circles far below Sylvie. Sylvie felt as if she could go flying among the clouds, too” (Jewett). This moment grows to her realizing that human attachment could not pull her away from her bond. Through her experience, she returns to the same thoughts she had before meeting the hunter. As, Atkinson further explains, “Thus, it is not

The relationship between Sylvia and her mom was a strict one. The strict parenting of Sylvia’s mother eventually began to cause problems because Sylvia had began facing relationship issues with other boys, knowingly her mother’s point of view on relationships, Sylvia continues. In the book/movie called outsiders Ponyboy with an immense amount of strictness by his elder brother Darry, even though Darry also had a younger brother named Sodapop who was the middle sibling out of the three brothers. Darry only seemed to be strict on Ponyboy who was the youngest, by being extra strict on Ponyboy. This indicates Darry gives special supervision towards his youngest brother, Ponyboy. This goes on to show Darry is always more in control of Ponyboy

In Anzia Yezierska's short story "The lost beautifulness," the protagonist Hanneh Hayyeh scrimps and saves to be able to paint her apartment white to make it look respectable for her son Ady when he comes home from fighting World War I. Hayyeh wants some kind of hope to cling to in her desperate immigrant's life. Although the dialect of the characters is Russian-Jewish and the setting is in an early 20th century urban environment, the idea of immigrant aspirations and the conflict between rich and poor is a common theme in American literature.

With the following second stanza the tone of the poem becomes more depressing. By saying that “there is no life higher than the grasstops or the hearts of sheep”, she creates boundaries to the vastness of life, limiting and comparing its essence to that of a plant’s and an animal’s, leaving the humans out of the poem. The depressive mood degrades the tone and atmosphere to an extent of filling it with death and fatality. If Sylvia pays “the roots of the heather too close attention”, they will “whiten her bones among them”. The combination of the words “bones” and “white” in one sentence might suggest that the roots will bring her death; since the skin of a corpse turns white due to the lack of blood, and bones are the leftovers of a dead hence both are associated with mortality. As opposed to the first stanza, the second stanza takes her to a completely different place. Grasstops, sheep, the roots of heather- all surround her, whereas in the first stanza she is completely alone in a huge desolate space. The change in her surroundings suggests her movement across the moorland, but at the same time it points out the maintenance of her demoralized emotional state and the lack of a positive change about it.

Mr. Cranton is the principal of Lansing High School who believes the girls’ sorority to be “undemocratic” which ultimately “disturb[s] the routine of school work” (241). He is a static, flat, and direct character.

Shirley Ardell Mason also known as (Sybil) was quietly living in Lexington Kentucky, and had ran a art business out of her home in the 1970s. She later died on Feb 26, 1998 from breast cancer due to declining treatment. There was a movie based on Shirley Ardell Mason Life called “Sybil” which came out in 1976, her real name wasn’t used in the book or movie because she wanted to protect her identity. The movie depicted on what Shirley had gone through as child, which included physical, emotional, and severe sexual abuse of the hands of her mother who was diagnosed with Schizophrenia. Due to Shirley’s trauma as a child she was diagnosed with a multiple personality disorder also called dissociative personality disorder, which consisted of 16 distinctive personalities in 1973 diagnosed by her therapist Dr. Cornelia Wilbur. Shirley Ardell Mason was born on January 25, 1923 in Dodge Center, Minnesota. Her parents Walter Mason and Martha Alice Hageman raised Shirley in Dodge center where they were well liked by others.

It tends to be the trend for women who have had traumatic childhoods to be attracted to men who epitomize their emptiness felt as children. Women who have had unaffectionate or absent fathers, adulterous husbands or boyfriends, or relatives who molested them seem to become involved in relationships with men who, instead of being the opposite of the “monsters” in their lives, are the exact replicas of these ugly men. Sylvia Plath’s poem “Daddy” is a perfect example of this unfortunate trend. In this poem, she speaks directly to her dead father and her husband who has been cheating on her, as the poem so indicates.

The forest helps the family get through the turmoil while the family is separated. A Family Reunited 14

Katherine Boo, a staff writer at The New Yorker and former reporter and editor at The Washington Post, has worked for over two decades “reporting within poor communities, considering how societies distribute opportunity and how individuals get out of poverty” (Boo 257). In November 2007, she and her husband, an Indian citizen, moved from the United States to India to study a group of slum dwellers in Annawadi, Mumbai (Boo 249). While studying this group of individuals in India from 2007 to 2011, Boo’s goal was to learn why the individuals within this slum have not banded together against a common enemy in order to gain upward mobility. She illustrates several common issues of developing nations including: corruption, education, the mismanagement of foreign aid, and the possibility for social mobility in her book, Behind the Beautiful Forevers. In this literary work, Boo accurately portrays the acts of corruption and as well as how corruption has entered the sphere of education, which is typically an individual’s only avenue to social mobility and success in that area. She argues that instead of rising up against a higher power, the individuals within the slum fight against one another to get a leg up on their competition, even if it keeps them in the same social class.

As she is developing, she is tantalized by the societal norms he represents. She is ready to give up the backwoods (a symbol of herself) for all he (a symbol of society) has to offer. Convinced of that, she sets off to find the secret of the elusive white heron and in order to find the heron, she had to climb to what was literally the top of the world for her, the top of the pine tree. The world from the top was different than the city and it was different from the woods at ground level. From the top her perspective about the world changed, it was vast and awesome, and she understood her place in it more than before. She understood it to mean more than to sacrifice her own self for the gifts this man had to offer that were tantalizing but incapitable with her personality and true self.

Sylvia Plath wrote “Mad Girl’s Love Song” in the early fifties while she was an undergraduate college student. The poem is written in the villanelle poetic form of which it reflects not only the rigorous fixed format, nineteen-line with two repeating rhymes and two refrains but also the melancholic tone and rhythm of the traditional dance song—in vogue in Italy and France during the sixteenth century—in which its roots lie. The title itself offers a plausible explanation for choosing the villanelle poetic form, which strict metric certainly helps to convey the sense of torment and alienation that emerges from the refrains repeated throughout the poem. A rising crescendo from one stanza to the next builds

The author made Sylvia into a Hero through the climbing of the tree. First the author talks about the call to adventure. Sarah begins the story with, ?Half a mile from home, at the farther edge of the woods, where the land was highest, a

The poem “Mirror” by Sylvia Plath describes an uneasy relationship between an aging woman and a mirror through a dark and emotional mood and a sad and melancholy tone increasing as the poem progresses. the theme of this poem is truth and lies, the woman is torn between what's real and what's not real. The poem is written in first person from the point of view of a mirror and personification is used continuously and effectively throughout the text. Through personification Plath gives the "Mirror" life by giving it a voice. Personification gives significance to the poem and makes it more successful.