Examples Of Personification In Jane Eyre

After being crushed with deep sorrow over the death of his beloved Ligeia, the narrator moves into a decaying abbey to leave behind his lonesome house. Although he leaves the exterior of the house untouched, the narrator decorates the interior with strange but lavish furniture. “The furnishings take on the shapes and colors of his fantastic dreams” as he attempts to cope with his loss (Kincheloe). This supports the idea that the narrator would rather live in his own colorful fantasy (like the inside of his house), than engage in the dark reality (as represented by the outside of the house). Losing Ligeia meant the narrator lost his fulfillment in life; which is why his reality is now gloomy and undesirable. Not only does is the furniture an example of dream imagery, the walls of the desolate house also have a dream effect. The moving images on the walls cause the house itself to seem restless and alive. The narrator imagines this because it represents himself; always on the edge of monstrosity with each changing mood. As he hallucinates on opium, his sense of reality and fantasy is put together as one. With each furnishing, a looming memory of Ligeia haunts him as he reminances her during his opium dreams.

The symbols that the narrator sees in the wallpaper also symbolize gender roles and how women are viewed during this time period. Perkins introduces this claim by writing, “And she is all the time trying to climb through that pattern--it strangles so; I think that is why it has so many heads” (Perkins 6). The author once again discusses the narrator’s visualizations of the trapped women and how they continuously try to break free from the wallpaper. Perkins further conveys that women are suffering from the “strangling” feeling that comes from male influence and how it leaves womankind in a state of instability to move or breath as an individual. Also, the author includes victorious commentary from the narrator after she escapes from John by saying, “I’ve got out at last,’ said I, ‘In spite of you and Jane. And I’ve pulled off most of the paper, so you can’t put me back” (Perkins 5). This triumphant exclaim referencing the wallpaper can go two ways. She begins understand that figuratively, the wallpaper embodies John’s double as it symbolizes male dominance. Through this, she assumes the position of the female leader who has freed herself and the figures from the imprisoning males. Lastly, the critic, Elaine Hedges, comments on

In Dr. Seuss', “How the Grinch Stole Christmas” it is apparent that there are socioeconomic factors that influences characters, settings and plot. The poem focuses on the relationship with lower and upper classes along with the economic conditions between the Grinch and the Whos. .

She’s constantly alone and not allowed to leave her bedroom, the lack of human interaction to occupy her time causes the protagonist to become delusional. With “barred windows for little children and rings and things in the walls” the room is much like her prison (Gilman 174). Even the pattern on the wallpaper, which at first was completely random “at night in any kind of light, twilight, candlelight, lamplight, and worst of all moonlight, becomes bars” as if she is caged (Gilman 182). Both times she refers to aspects of her room as bars. As she begins to feel imprisoned, she outlines her feelings onto the wallpaper, but the idea of the room being her prison goes from imaginary to more real as the aloneness makes her need for an escape a lot more

Restraints are set by parents on their children to aid with the developmental process and help with the maturity level. Restrictions and the ability to control exist in our society and our lives. We encounter restraints daily: job, doors, people, and the most frequently used and arduous become intangible. In the following stories tangible and intangible scenarios are presented. Autonomy, desires, and talents spurned by the husbands in John Steinbeck’s “The Chrysanthemums and Charlotte Gilman’s “The Yellow Wallpaper.” The authors share views regarding a similar theme of male domination and imprisonment. “The Yellow Wallpaper” involves the treatment of a depressed woman who is driven insane in a male imposed detention in her own room. On the

Forced to lie in bed all day and take it easy, the narrator becomes obsessed by the wallpaper and is drawn into trying to interpret it. She imagines a woman trapped within the paper. The narrator decides to strip off all of the wallpaper in her room, this is the moment of ultimate rebellion for the protagonist, and she is taking action towards independence. When John comes home to find the door locked, he begins freaking out. When he finally gets into the bedroom the narrator’s actions are so extraordinary and shocking that her husband faints. Through everything that is going on the narrator keeps creeping around the room in circles stripping all of the wallpaper off to free the woman that is trapped within.

.Throughout the story, The narrator presents the surrounding sphere as a prison for her. Like the woman behind the wallpaper is trapped behind a symbol of the feminine surrounding sphere, the narrator is trapped within the prison-like nursery. The nursery is itself a symbol of the narrator’s suffering as a continual reminder of her role as a woman to clean the house and take care of the children. The many blocked windows and unmovable bed also suggest a fatal use for the nursery in the past, perhaps as a room used to house a mad/sick person. The narrator's feeling of being watched by the wallpaper underlines the idea of the room as a supervised friendly prison cell.

Body and soul free!” (Chopin 3). In my point of view those feelings that Mrs. Mallard felt at that moment was finally being let go from her husband’s grasp and the shackles of marriage which was an imprisonment to her. In “The Yellow Wallpaper”, the narrator of the story was remained nameless is confined in a room with eccentric wallpaper, which I think seems to symbolize the complexity and confusion in her life. The narrator’s freedom in this case would be writing, which did not sit well with her husband based on this quote; “There comes John, and I must put this away – he hates to have me write a word” (Gilman 57). For those moments the narrator writes in her journal she feels to have freedom and to express herself from reality, but in secret. The way the narrator describes her room as; “it is a big, airy room, the whole floor nearly, with windows that look all ways, and air and sunshine galore…I should judge, for the windows, are barred for little children and there are rings and things in the walls” (Gilman 56). This portrayal of the room could be described as confinement for the narrator, and a sense feeling trapped.

A flower stands high in an empty field. It moves with every gust of wind and grows with every sunny day. At a single moment any one of the seven billion people on this Earth could have plucked it from the soil, yet for now, it remains in an upright position. Much like this flower, throughout life people are continuously influenced by those around them. Every person is changed constantly by the people around them, and their future is always altered because of this. In the novel Jane Eyre by Charlotte Bronté, Jane Eyre is impacted greatly by characters such as Mrs. Reed, Helen Burns, and Mrs. Temple. These characters, just like the flower at mercy its environment, had left a great impact on Jane.

It is so puzzling. It keeps me quiet by the hour” (752). She is confined to her room and the garden, fearing to upset the lifestyle she is forced to carry out by Jennie and John. Yet by night, she transforms into a frantic woman, spending all of her energy watching the moonlight change the wallpaper. When it is dark she begins to see her own prison: “At night in any kind of light, in twilight, candle light, lamplight, and worst of all by moonlight, it [the wallpaper] becomes bars! The outside pattern I mean, and the woman behind it is as plain as can be” (752).

She started looking at the room as if it was a mental prison and there were no escape “There are things in the wallpaper that nobody knows but me, or ever will. Behind that outside pattern the dim shapes get clearer every day. It is always the same shape only very numerous. And it is like a woman stooping down and creeping about behind that pattern. I don’t like it a bit. I wonder- I begin to think- I wish John would take me away from here!” (Schilb and Clifford 238). The author began seeing an image in the wallpaper of a woman trying to escape from the wallpaper and be free “The front pattern does move- and no wonder! The woman behind shakes it!” (Schilb and Clifford 241). The quotes are showing that the narrator has completely lost her mind as she is unstable mentally to realize what real or not. Another quote shows how stable her conditions are “I’m feeling ever so much better! I don’t sleep much at night, for it is so interesting to watch developments (Schilb and Clifford 240). This is psychologically unhealthy for the protagonist, showing how she went from being a well stable lady to an insane

The narrator’s feelings of inferiority and powerlessness parallels the female figure she sees trapped behind the pattern in the wall-paper adorning her room. She gradually withdraws from both John and reality by locking herself in the room and ultimately merging with the figure. Through the changing image of the pattern from a “fait figure” (Gilman 46) to a “woman stooping” (Gilman 46) behind the paper and “shaking the bars” (Gilman 46) as if she wanted “to get out” (Gilman 46), we can see her becoming one with the figure: “I pulled and she shook, I shook and she pulled, and before morning we had peeled off yards of that paper.”(51) Her collapse into madness as reflected in her behavior with the “bedstead [that] is fairly gnawed” (Gilman 51) and her “creeping all around” (Gilman 50) is a direct result of her passive submissiveness to John’s control of her life.

She soon starts to obsess over the pattern of the yellow wallpaper, the only visually stimulating presence within the room of her confinement. She begins to recognize that there is a woman creeping around the room behind the wallpaper, attempting to break free. Towards the end of the story the narrator begins to tear down pieces of the wallpaper in order to free the “trapped woman” once and for all from her prison.

The seclusion endured by the narrator causes a dramatic change in her mental state. Her surroundings are now coming alive within the walls around her. “I didn’t realize for a long time what the thing was that showed behind, that dim sub-pattern, but now I am quite sure it is a woman” (736). Initially, the figure witnessed around the walls was merely just the shadow projected from the narrator creeping around the paper. Now this shadow is taking on not just any life form but ironically the form of a woman. Just like the narrator is trapped within the barred windows of the mansion, the woman is trapped within the patterns of the paper. This parallel view is transforming the narrator’s identity within the walls of the paper. However, this obsession begins to heighten. She begins to see the woman through every window in the bedroom. She appears to be creeping not only around the walls but now outside in the garden and along the

Jane eyre is a clear example of a bildungsroman because we see how she starts off as a miserable and poor child who is mistreated and ends up as a rich mistress. Jane Eyre’s development through the book helps the idea of the novel being a bildungsroman. In the first chapters of the book we see Jane filled with negative emotions towards the Reed’s because she is badly mistreated and being locked in the red room is the tipping point for jane. Later on when Jane attends lowood her emotions have drastically changed, she know feels some sort of comfort and love. Although the reader might think Jane has been through it all that is not the reality as she will fall in love with a man that will cause her problems but will ultimately reach happiness