Orange Burst Analysis

Mrs Danvers, Manderley's housekeeper, is both aware of and delighted by the narrator's fear of her. She is almost encouraged to continue her intimidation of the narrator, under the guise of subservient courtesy. As Mrs de Winter is not in possession of her own personal maid, Mrs Danvers is entrusted with the task of appointing one. This she fulfils, choosing a young girl of negligible experience and who was, "the only person in the house who stood in awe of" the narrator, insinuating that only the lowliest of servants finds it necessary to respect Mrs de Winter, because Clarice has had "no alarming standards" and consequently they seem to be "fit company" (p 143). Eventually though, after experiencing for only a short time, Mrs de Winter's insecurities and uncertainties, Clarice is confident enough to confide in her mother that serving the narrator is "not like being with a lady... it's like being with one of ourselves" (p 151). By this it can be assumed that Clarice is referring to the similar class and background she shares with the narrator, therefore considering it unnecessary to respect or fear the narrator, as the similarities they share are so numerous and of such social importance. This familiarisation, as perceived by Maxim and consequently, the narrator (devoid of her own opinions) is indeed an insult and displays a lack of respect for her betters on the part of Clarice, further lowering the

When Manley and Hulga sneak away from the sanctity of the home to rendezvous on the road outside, it is toyed with as a

For instance, the panes were scarlet, a deep blood colour. The "bloody" red room thus becomes a place of ending not only due to the westward location, but also because of its color. Poe describes the last, black room as the dreadful endpoint, the room the guests fear just as they fear death. The room is feared by the guests because it reminds them of death, which is why no one enters the room. The room is involved in all of the main scenes throughout the course ofthe story. For example, this is the room Prince Prospero and his guests die from the Red Death and also where the clock is located. The reader sees how important the rooms are throughout the story and its main contribution to the theme.

Favell, Maxim, and the heroine accompany Julyan to London; the heroine is certain that Baker will reveal that Rebecca was pregnant, thus revealing Maxim's vengeful motive for murder. But instead, it turns out that Rebecca was dying of cancer, and that furthermore she was infertile; she had lied to Maxim about her pregnancy. Her terminal illness now supplies a motive for Rebecca's supposed suicide, and Maxim is saved. He and the heroine drive all night back to Manderley, stopping only once, when Maxim calls home and learns that Mrs. Danvers has disappeared. As they crest the ridge near the mansion, they look down and find it in flames.

Then, in the seventh stanza the narrator talks about when she finds the orange she has a “vision” of its “exotic land”(29-30). She goes on describe “the sun/ you swelled under/ the tree you grew from” (30-32). Using visual imagery, this setting sounds almost perfect. Kelly uses this imagery to suggest that because if the orange is perfect, it must have come from perfect beginnings. If the orange is her lover then, she is saying that because he is such a perfect person he must have had a wonder life leading up to this point. Another piece of imagery is when the narrator “[climbs]/ the hill, [looks] down/ on the town [they] live in/ with sunlight on [her] face” (41-44). This visual imagery is used to set a romantic scene in which the narrator is finally happy, and at peace that she has found the perfect orange. When the narrator looks down on her town it’s her looking back and reflecting on her life before she met her true love. The sun light on her face is the bright future she and her lover are going to have together. In the last stanza Kelly uses visual imagery to end the poem with the narrator “[walking] away/ [leaving] behind a trail/ of lamp-bright rind” (49-51). The visual imagery of her walking away leaving behind the rinds of the oranges is the way Kelly ends this poem. The narrator and her lover are walking away from their past lives and starting a new one

The text is very descriptive and loaded with symbols. The author takes the opportunity to relate elements of setting with symbols with meanings beyond the first reading’s impressions. The house that the characters rent for the summer as well as the surrounding scenery are introduced right from the beginning. It is an isolated house, situated "quite three miles from the village"(947); this location suggests an isolated environment. Because of its "colonial mansion"(946) look, and its age and state of degradation, of the house, a supernatural hypothesis is implied: the place is haunted by ghosts. This description also suggests stability, strength, power and control. It symbolizes the patriarchal oriented society of the author’s time. The image of a haunted house is curiously superimposed with light color elements of setting: a "delicious garden"(947), "velvet meadows"(950), "old-fashioned flowers, and bushes and gnarly trees"(948) suggest bright green. The room has "air and sunshine galore"(947), the garden is "large and shady"(947) and has "deep-shaded arbors"(948). The unclean yellow of the wallpaper is

Maxim de Winter was a culture, intelligent old man, and the proud carrier of the de Winter name and estate of Manderley. He exemplifies all the traits of a rich upper class gentleman and goes out of his way to take Mrs. Van Hopper's companion out for a little fun. He sees the crude and vulgar treatment that the narrator is going through and tries to compensate for her and treat her in a more appropriate manner. With her modest frame, the narrator accepts such an offer because she knows that her stay in Monte Carlo was only for someone else's benefits and not hers. As in all stories, the poor, young beautiful woman, falls for a rich and sophisticated man who shows her that even though society is segmented into different classes, love can bind any two people. For this you begin to see the other side of the rich and aristocratic world. In Maxim de Winter you begin to realize that to him, all the money and power isn't worth anything when

The dwarves are amazed by the girl’s beauty and allow her to stay with them forever as long as she handles all the household chores. Snow White happily obliges and begins to take care of the dwarves. Unfortunately, the evil step-mother gets word of Snow White’s death being a fraud and makes three attempts to trick and fool the princess. On the third attempt, the old hag is successful and upon biting in to a deliciously plump red apple sends Snow White tumbling to the ground. The seven dwarves decide Snow White is to captivating to be buried underground so they decided to encase her in glass and take turns guarding her remains. One day a handsome prince happens to come across the beautiful dead princess and begs the dwarves to let him purchase her. Reluctantly, the dwarves give the prince Snow White and a bump on the transport home causes the poisonous apple to fall out of her mouth and the princess magically comes back to life. The prince marries Snow White, and the evil step mother is forced to dance in hot-iron boots until she dies.

Conversely, “his first entry of the scene, few people could tell whence, dropping down as if it were out of the sky or starting from the nether earth, had an aspect of mystery.” This quotation analyzes Chillingworth’s sudden appearance as mysterious and without proper justification. This lack of an emotional anchor towards the colony causes the reader to question the physician’s perfect timing while the locals gratify it. Accordingly, “he was now known to be a man of skill; it was observed that he gathered herbs and the blossoms of wild flowers, and dug up roots and plucked off twigs from the forest-trees like of acquainted with hidden virtues in what was valueless to common eyes.” Through Hawthorne’s previous statement, Chillingworth is apprehended as an exceptional doctor who is brought to the malaise minister based on the orders of heaven; but in reality, Chillingworth is exposed as a malicious man who is seeking vengeance upon his wife, Hester’s secret lover. Chillingworth concludes that the suitor is none the less than Dimmesdale through their encounters with Hester and the affair’s child, Pearl. This is significant because Chillingworth’s revenge is to condemn Hester’s lover of earth and for eternity. Dimmesdale’s illness draws Chillingworth into a private setting where he plans to manipulate Dimmesdale as retribution, while being perceived as a devoted

She reveals in the next quatrain that her lover, “a hurrying man” (7), was killed at noon that day. Millay points out how casual the incident is, saying how the man who “happened to be killed” (8) just so “happened to be” (7) her lover. She includes the repetition of “happened to be” to strengthen the poem’s casual mood.

The poem's setting is one that conjures up images of vagueness. It is filled with "yellow fog" and "yellow smoke", both of which suggest a certain denseness and haziness. Similarly, Prufrock is faced with another kind of mist - "perfume

Furthermore, Rebecca reflects the conventions of the romantic genre by showing that the heroine?s first impressions of the hero were incorrect. She had first viewed him as ?hard? and ?sardonic? due to his remarks at Mrs Van Hopper, ?He got up at once, pushing back his chair. ?Don?t let me keep you,? he said. ?Fashions change so quickly nowadays they may even have altered by the time you get upstairs.?? However, following her first breakfast with Maxim, she realises that she was wrong and says, ?I had ill-judged him, he was neither hard nor sardonic, he was already my friend of many years.? The first impression of Maxim only lasts over one coffee with Mrs Van Hopper however is fixed soon after when he sends the heroine a note which reads, ?Forgive me. I was very rude this afternoon.? It is evident that as soon as she receives this note, her opinions of the hero change. She also elaborates on her feelings the next morning when Maxim invites her

Later in the novel, when Jane leaves the altar after discovering moments before she weds that her almost husband is actually already married, she feels intensely cold and broken-hearted, with an abrupt transition to winter after this point that only furthers this symbolization.

The atmosphere of this exposition is clearly foreboding: "the dark clouds, broken chimneys, unused street, solitary cat, and dead air" all prove ominous and reflect the sordid ruling mood. Failed culture and solitary of aimless women ("a cat moved itself in and out of railing") not knowing exactly what to do about their predicaments in which

After Gabriel’s speech, the door is open and the freezing outside air is being let into the room. Because of the cool air, Kate demands that the door be closed because “Mrs. Malins will get her death of cold.” (1241). Although surely Mrs. Malins is in danger of catching cold, the phrase “death of cold” is an intentional exaggeration to bring the reader’s mind back to the concept of death. “A ghostly light” is also present in the hotel room where the Conroys are staying (1245).