Literary Themes In Tess Of The DUrbervilles

One use of symbolism in the novel is when Mayella Ewell is compared to the red geranium. “One corner of the yard, though, bewildered Maycomb. Against the fence, in a line, were six chipped-enamel slop jars holding brilliant geraniums, cared for as tenderly as if they belonged to Miss Maudie Atkinson, had Miss Maudie deigned to permit a geranium on her premises. People said they were Mayella Ewell’s” (pg. 194). Known as the “poor man’s rose,” the red geranium symbolizes gentility. The flowers growing in the filthy jars represent Mayella and the conditions she lived in. Mayella was a young girl that was living a terrible life and had no form of beauty in her life. Attending to those flowers had finally gave Mayella a form of beauty and hope. They showed Mayella that underneath the ugly and unappealing, there is still beauty.

“Eugenia W. Collier uses elaborate use of diction, interesting and unique syntax, and very imagery and poetic figurative language to create a didactic, optimistic, and abstract tone in her writing of Marigolds” As the story begins, the author uses a very abstract feeling and tone towards the subject of poverty. In the quote, “Surely there must have been lush green lawns and paved streets under leafy shade trees somewhere in town; but memory is an abstract painting—it does not present things as they are, but rather as they feel” (1) it talks about how the memory of poverty is elusive. The second part of the sentence, “but memory is an abstract painting—it does not present things as they are, but rather as they feel” shows what the writer feels

AlecÕs first words to Tess , ÒWell, my Beauty, what can I do for you?Ó

The appreciation of nature is illustrated through imagery ‘and now the country bursts open on the sea-across a calico beach unfurling’. The use of personification in the phrase ‘and the water sways’ is symbolic for life and nature, giving that water has human qualities. In contrast, ‘silver basin’ is a representation of a material creation and blends in with natural world. The poem is dominated by light and pure images of ‘sunlight rotating’ which emphasizes the emotional concept of this journey. The use of first person ‘I see from where I’m bent one of those bright crockery days that belong to so much I remember’ shapes the diverse range of imagery and mood within the poem. The poet appears to be emotional about his past considering his thoughts are stimulated by different landscapes through physical journey.

of day is was also a beautiful and a romantic time of day for them

Beautiful imagery laced amidst a wondrous storyline, accompanied by memorable and lovable characters are all elements pertaining to enjoyable works of fiction. Tales that keep one up late into the night forever reading just “one more page” forever propelling the intrinsic imagination for a novel enthusiast. Yet, at times there are deeper meanings hidden between the lines. Symbols, analogies, and latent parallels all connecting to real life events and situations being portrayed by the author. Using literary theory can bring a more profound understanding of the reading material at hand, as well as unique insight as to what the author was feeling or intending to portray at the time of writing.

Throughout the excerpt, the author grants the reader with vivid imagery to help show the unity Moses shares with nature. Jones begins with imagery to describe the magnificent lifelike scenery of a fading sunset and it’s “red-orange laid out in still waves across the horizon between two mountains on the left and right”; this is where the reader first sees Moses’ connection with nature. Jones then describes Moses eating the soil, after catching the reader's attention with the strange act the author then describes the changing of the soil through the seasons and includes imagery to describe the taste of the moldiness” of fall to winter and the more “sweetened metal” taste of July. As the passage continues, the author becomes more severe in describing

The author is very descriptive and gives readers a lot of information. Sentences like “The wait was electric, for Chicago was a prideful place” (13) are very formal and hold the character of that time. The author’s style is descriptive, and thoroughly narrates events. Sentences like “mounds of quicklime; a large kiln; a dissection table stained with what seemed to be blood” are very descriptive and add to the eerie feeling that readers get (364). The words the author chose helped readers know how they are supposed to feel about certain subjects. An example is the sentence “He possessed them all and reveled in his possession” (350). This sentence makes readers such as myself feel uncomfortable and adds to the depiction of Holmes. His wording helped readers understand his characters. This books serves as a reminder for other books like Great Gatsby but heavily contrasts Great Gatsby in the fact that it depicts much more gruesome events and is a darker read that Gatsby. The author also uses a lot of paragraph breaks to try to highlight something that is important for readers to not. The book was easy to read but packed with information. The author also implies a lot of things instead of outrightly stating

It is arguable that Tess’ passive nature renders her responsible for her suffering. Tess is ‘asleep at almost every important part of the plot, for example when Prince is impaled when she rides in place of her father . This mistake foreshadows later events between Tess and Alec. When Alec seduces, or rapes Tess, Hardy writes that ‘his cheek was upon hers. She was sleeping soundly’. Tess is acted upon, and does nothing herself. Tess’ lack of aggresion is further shown in her relationship with Angel. When Angel embraces her, and she is said to have ‘yielded to his embrace’, Tess allows herself to be loved opening herself to Angels hidden crueltys. Tess essentially sells herself to Angel saying: “you know best what my punishment should be” . There

Tess is seduced by Alec and taken advantage of, and as a result she is

In Thomas Hardy’s Tess of the d’Urbervilles, Tess Durbeyfield, who is related to the ancient upper-class d’Urberville family, describes herself as “only a peasant by position, not by nature” (239). When Mr. Durbeyfield, Tess’ father, discovers that he comes from the line of the d’Urbervilles, many of Tess’ features and characteristics are explained. However, while Tess’ appearance and qualities cause her to appear as an aristocrat, her upbringing justifies her as a peasant. Tess’ family is financially constrained, her mother holds fatalistic, superstitious folk beliefs, and she is a working woman. However, Tess’ more intrinsic qualities such as her looks, ethical sensitivity, relational intensity, and aptitude in comparison to her fellow countrymen, present her as a “deeper-passioned” (140) woman of a higher class. Therefore, Tess, both socially and culturally, is essentially a combination of both classes, and she does not fully fit in with either class. In the novel, Tess’ character, qualities, and position reveal her as both a d’Urberville, an aristocrat, and a Durbeyfield, a peasant.

“In all this batch I think nothing at all good save the field of wheat, the mountain, the orchard, the olives with the blue hills and the portrait and the entrance to the Quarry, and the rest says nothing to me, because it lacks individual intention and feeling in the lines. Where these lines are close and deliberate it begins to be a picture, even if it is exaggerated…Certainly

Before the 20th Century, literature was pretty straightforward; the narrators were reliable, the timelines were linear, and the perspective was clear, but then somebody got the idea to mix it up. This is how we got books such as The Great Gatsby and one of our class texts, Orlando. For some, this was a startling and uncomfortable transition from what used to be considered the, “normal” format which was very up front in terms of structure and voice. Others found it to be more exciting and, while it was still weird and unsettling for those people, it forced people to think more about what the books were trying to communicate, instead of just being handed the message; they had to work for it. This has become one of the leading reasons that societies are encouraged to read; if you read a book that forces you to think, your mind becomes stronger and this promotes an increase in intelligence and creativity.

Again the description is bleak, (‘the sun beats .......the dead tree gives no shelter, the cricket no relief.’ ) Life-giving water is again absent, (‘the dry stone no sound of water.’ ) And moving transversally forward to section 5 brings the reader into the desertscape where there is an intensification of the oppressiveness . The absence of water is emphasised through repetition: