Initially, Mrs. Mallard reacts with great sadness over the news of her husband’s death. Knowing that Mrs. Mallard suffers from “heart trouble”, Josephine, Mrs. Mallard’s sister decides to “hint” her the news of Brently’s death in “broken sentences”. Josephine assumes that Mrs. Mallard “[loves]” her husband, and naturally
The plot of the story itself is very emulate of this theme type. The narrator experiences the deaths of his late childhood friend Roderick, and Roderick’s twin sister Madeline whom they before her death, had buried her alive. Upon their deaths, the narrator states “From the chamber, and from the mansion, I fled aghast” (422). Stricken with the terror the narrator experienced, the narrator’s perception integrates into the minds of the readers. The plot commits immensely to the effect of unity.
One of Roderick's fears was death. He was from a well-known and honored family, and he and his sister were the last of the long line of Usher descendants. His sister, Madeline, had been fighting a severe and long-continued illness for quite some time, which had added to much of Roderick's gloom. " Her decease, would leave him the last of the ancient race of the Ushers." Roderick seemed not only to fear the death of his sister and ultimately of himself, but also the uncertainty of the future. "I dread the events of the future, not only in themselves, but in their results. I shudder at the thought of any, even the most trivial incident, which may operate upon this intolerable agitation of soul."
Mrs Mallard's awkward attitude after learning of her husband's death establishes an irony- somebody who is really happy in marriage will not enjoy nature in peace and have mixed emotions; the person will feel genuine grief upon hearing of the death of her husband. Here, Mrs Mallard's reaction portrays the extent to which her thirst for freedom was strong. Kate Chopin allows us to visualise the moment that Mrs Mallard is able to shed the bondage of marriage: "free, free, free!." She feels liberated through her husband's death. Much emphasis is laid on her joy upon finding freedom- "there would be no one to live for." The author also points out that "she knew that she would weep again.....folded in death." This only highlights the fact that it is not an expression of love but seems more like a duty that
Most times, anything abnormal or odd tend to be pushed under the rug. Edgar Allan Poe subtly brings attention to topics the are typically ignored. E. A. Poe had far from a perfect childhood. His father left when he was young and his mother died when he was three. Poe also seemed to have a lonely childhood after his parents were gone. He was separated from his relatives and didn’t appear to have many friends. He attended the army and after went into West Point. His academics there were well but he was eventually kicked out because of poor handlings of his duties. Before Poe died, he struggled with depression and a drinking problem. Some believe Poe’s tragic lifetime was the inspiration for some of his stories. Such as, “The Fall of the House of Usher”. A possible theory about this story is that Roderick and the Narrator were one in the same. This essay will discuss the possibility of them being the same through plot, characterization, and personification.
Learning that Hugh has not been home yet, Deborah rushes off to the mill with food for him, her fatigue vanished in the face of her desire to care for Hugh. It soon becomes even more apparent to infer from Deborah’s “painful eagerness” to please him that she is in love with Hugh (8). In these opening pages we see not only Deborah’s affection for Hugh, but that this affection is merited: for we see also Hugh’s gentle nature as he does what he can to protect Janey and to care for Deborah by sending her to sleep on the warm iron ash until he can take her home at the end of his shift (8). Yet, as Deborah watches Hugh work, she acknowledges that “in spite of all his kindness, . . . there was that in her face and form which made him loathe the sight of her. . . . [D]own under all the vileness and coarseness of his life, there was a groping passion for whatever was beautiful and pure” (9). The initial use of Deborah as a focal character, then, allows the revelation of Hugh as a kind human being who is loved by those to whom he shows kindness; it also establishes his artistic love of beauty and thus strengthens the effect of his kindness to the hunchbacked Deborah.
Roderick, who believes he buried her alive, is going insane because when he imagines that she appears in front of her. Poe describes the feelings of Roderick in a manner that one can sense the fear that he must feel seeing someone return from the grave.
Nevertheless, fate – in the guise of Mr Leavenworth – pushes Roderick towards the abyss of self-annihilation. Prior to this portentous event, Mr Leavenworth commissions a sculpture from Roderick on the proviso that it is suitable for his library and asks that it embodies the intellectual spirit. For some time, this task has challenged Roderick’s imagination that he dreads seeing the wealthy client in addition to showing him “a representation of a lazzarone lounging in the sun” (128). Moreover, the statue of a lazzarone – a Neapolitan beggar – is the antithesis to what Mr Leavenworth desires, and when Roderick shows it to him, the wealthy client remarks that it is “in the style of the Dying Gladiator.” (128) Upon which the artist clarifies that the lazzarone is not “dying, he’s only drunk!” (128) Afterwards, they discuss the artistic merits of depicting an intoxicated figure whereupon the moral Leavenworth expounds, “Spotless marble should represent virtue, not vice!” (129) This statement by Leavenworth alerts the reader to the irony that James is depicting, moreover, it clearly shows Roderick has become a copy
Cunningham’s belief on how the story ended varies from many other critic’s opinions. He points out how a great amount of readers believe the death of Mrs. Mallard was caused by her seeing Mr. Mallard walk through the door of their house, after receiving the news of his death in a train accident (par. 1). However, Cunningham states he does not believe Louise Mallard even saw Brently Mallard at all, and the cause of death was not from the shock of seeing him. In fact, he claims, “I believe that Louise does not see him… cause of her death lies elsewhere: in the joy… more ‘monstrous’ than Louise seems
The death of the main character Louise Mallard is a commonly debated topic when discussing “The Story of an Hour.” In Mark Cunningham’s article “The Autonomous Female Self and the Death of Louise Mallard in Kate Chopin’s ‘Story of an Hour’” he makes arguments for the common interpretations of Mrs. Mallards death. He states that “it is critical commonplace” to assume that the sight of her husband alive kills her (n.p.). Even though the story never directly states that Mrs. Mallard sees her husband, it is easier for ones brain to jump to the conclusion that her
What happens next in the ballroom scene, that is to say, Rowland’s disclosure to Christina of Roderick’s previous engagement, is paradoxical. For starters, if Rowland loves Miss Garland, then he will remain silent in order to aid Roderick in his attempts to win Miss Light, therefore, alleviating Rowland’s guilty conscience along with helping him gain Miss Garland’s affections. Nevertheless, when one re-examines his motives, one can see that he indeed cares for Miss Garland so much so that he notifies any potential rivals for Roderick’s affections that the young artist is already taken. What is more, Rowland Mallet loves Miss Garland that he cannot bear to see her upset by Roderick’s fleeting fancies for Christina. At any rate, his attempts
Much to Catherine’s pleasure, she has a walk scheduled with her sweetheart, Henry Tilney, and her dearest friend, Eleanor Tilney. However, on the morning of the walk, it rains. Austen uses the rain to foreshadow the upcoming unpleasant events. In the afternoon, the rain subsides leaving a muddy mess. Unexpectedly, Isabella Thorpe, John Thorpe, and James Morland arrive at her house. They request that Catherine go along on their trip to neighboring cites. However, Catherine feels obligated to stay in the house and await Henry Tilney and Eleanor Tilney. In his typical self-centered manner, John Thorpe declares that he saw Tilney engaging in other activities, “I saw him at that moment turn up the Lansdown Road, - driving a smart-looking girl” (Austen 53). Although perplexed as to why the Tilneys did not send word that their engagement should be broken, she consents to the proposed carriage ride. While riding out of her neighborhood, Catherine spots Eleanor and Henry Tilney walking towards her house. Catherine, exclaims, “Pray, pray stop, Mr. Thorpe. - I cannot go on. - I will not go on. - I must go back to Miss Tilney.” (Austen 54). John Thorpe disregarding Catherine’s plea, “laughed, smacked his whip, encouraged his horse, made odd noises, and drove on” (Austen 54). During this scene, Austen magnifies the villainy of John Thorpe by whisking away with innocent Catherine.
The antithesis of ‘weeping’ and ‘laughing’ highlight to the reader how Mrs Hayward is a character who evokes feelings of both happiness and shame in Stephen, due to her respective actions and emotions. She is a fragmented and incomplete character who is portrayed to the audience through an anaphoric series of present tense memories, which make her actions, and consequent responses of the narrator, seem immediate and continual. She is a character who evokes an emotional response in our narrator almost sixty years after unknown events have occurred, suggesting to the reader that she is going to be central to his journey down ‘memory lane’.
'I heard of your marriage, Cathy, not long since; and, while waiting in the yard below, I meditated this plan:-just to have one glimpse of your face, a stare of surprise, perhaps, and pretend pleasure; afterwards settle my score with Hindley; and then prevent the law by doing execution on myself. Your welcome has put these ideas out of my mind; but beware of meeting me with another aspect next time! Nay, you'll not drive me off again. You were really sorry for me, were you? Well, there was cause. I've fought through a bitter life since I last heard your voice, and you must forgive me, for I struggled only for you'(P.105).
To add more weight to his overloaded conscience, Mrs Light begs Rowland to help persuade her daughter to marry the prince, whom we previously learnt the girl had rejected. Like her daughter, Mrs Light is emotionally manipulating Rowland Mallet, and this influence is evident when she first chastises him for not doing her bidding, “Oh cruel, deadly man! You must advise her; you shan’t leave this house till you have advised her!” (304) Moments later, she goes on to flatter him by saying, “I said to Christina the first time I saw you that you were a perfect gentleman, and very different from some!” (304) By calling into question Rowland’s proclivity for social decorum — namely, to be an exemplar of a gentleman — Mrs Light therefore ignites in