Summary Of ' The Drover 's Wife '

The author uses imagery in this portion of the passage by describing the wall in the nursery. I know this because in the passage, it says, “The walls were blank and two dimensional.” This quote shows how the author uses imagery because he describes the walls in the nursery and it creates an image in the reader’s mind.

Cisneros used powerful imagery appealing to the sense of sight when portraying their dream house, “[their] house would have running water and pipes that worked. And inside it would have real stairs, not hallway stairs, but stairs inside like the houses on T.V. And [they’d] have a basement and at least three washrooms so when [they] took a bath [they] wouldn't have to tell everybody. [Their] house would be white with trees around it, a great big yard and grass growing without a fence” (Cisneros 4). The authors use of imagery in this instance effectively gives the

Imagery is one of the best used literary devices in this short story. Imagery means “The use of vivid or figurative language to represent objects, actions, or ideas.” (http://dictionary.reference.com/define/imagery) In The Pedestrian Bradbury tells us that Mr. Mead’s house “had all of its electric lights brightly lit, every window s loud yellow illumination, square and warm in the cool darkness.” (51) This story also uses imagery when it talks about the police car and says, “…peered into the back seat, which was a little cell, a little black jail with bars. It smelled of riveted steel. It smelled of harsh antiseptic; it smelled too clean and hard and metallic. There was nothing soft there.”

These immediate images provoke other images in the Indian’s mind; these images are far more spectacular than those immediate images pointed out by the white woman. The two hundred year old house on the hill is linked in the Indian’s mind to the structures of his tribal ancestors which he describes in stanza three as “whose architecture is 15,000 years older”.

Gwen Harwood’s poetry is very powerful for its ability to question the social conventions of its time, positioning the reader to see things in new ways. During the 1960’s, a wave of feminism swept across Australian society, challenging the dominant patriarchal ideologies of the time. Gwen Harwood’s poems ‘Burning Sappho’ and ‘Suburban Sonnet’ are two texts that challenge the dominant image of the happy, gentle, but ultimately subservient housewife. Instead, ‘Burning Sappho’ is powerful in constructing the mother as violent to reject the restraints placed on her by society, whilst Suburban Sonnet addresses the mental impact of the female gender’s confinement to the maternal and domestic sphere. Harwood employs a range of language and

The author uses imagery in the poem to enable the reader to see what the speaker sees. For example, in lines 4-11 the speaker describes to us the

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

Harwood’s works challenge the patriarchal, societal view of motherhood as a role of delight, joy and fulfillment, revealing the hollow façade of meaningless that often comes with domestic suburban roles. She explores the role of women in her contemporary Australian society, criticising and challenging the expectations that women must be restricted to the domestic sphere in this patriarchal society. Harwood’s graphic description and evocative imagery conveys the hopelessness of many women. Home of Mercy explores how females are dehumanized as the pregnant, unmarried girls have ‘sinned’ in the eyes of society and

Henry Lawson’s the drovers wife, explores the perspicacity of the bush heroine with the use of a narrator. The narrators’ avoidance of using a name for the drover’s wife prevents the responder being influenced by their names and instead allows the responder to judge for themselves through the actions and events that occur in the story. This also shows the responder that the hardships and struggles faced by this woman are

Also, ‘the sun threw a bright dust-laden bar through one of the side windows’, this represents that the little hope in the bunk house only helps to further illuminate the darkness and harshness of society. In a setting, such as the ranch, where dreams are suppressed and suffocated, they take on a greater importance and significance to the mens lives, they rely on the dreams to get by.

A review of the house itself suggests that an architectural hierarchy of privacy increases level by level. At first, the house seems to foster romantic sensibilities; intrigued by its architectural connotations, the narrator embarks upon its description immediately--it is the house that she wants to "talk about" (Gilman 11). Together with its landscape, the house is a "most beautiful place" that stands "quite alone . . . well back from the road, quite three miles from the village" (Gilman 11). The estate's grounds, moreover, consist of "hedges and walls and gates that lock" (Gilman 11). As such, the house and its grounds are markedly depicted as mechanisms of confinement--ancestral places situated within a legacy of control and

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.

In “The Fall of the House of Usher” the story starts with the narrator saying that he is overcome with a feeling of gloom upon first seeing the house. He compares the windows to vacant eyes. The narrator goes on to tell how the house appears to him but then tries to explain it away as his overactive imagination.

Throughout history, Australian has always been perceived as a land of men. This is due to the colonization of Australian during the eighteen and nineteen century, where men are seen inferior to women. They also are domesticated within the house duties that the society has influence because of their gender. Although, Henry Lawson “the drover wife” and The Chosen Vessel” by Barbara Baynton challenges the Australian society through Australian literature by placing women in harsh environments. The drover wife is short stories about women who face the new obsolesce while living within the harsh environments. The Chosen Vessel has a similar aspect of the drover wife but the lead female experience the harness of the environment, which lead to her death. Both women display their own straights and heroics while facing their fears, through their selfless action. They are both portrayed of women of the bush but their fate had stored different outcome for both women. This essay will examine both the drover wife and the chosen vessel both contain a simple plot, but it expands on many issues of gender expectation and domesticated within the household role of the expectation of women. It will also examine the religious aspect of the historical narrative that has been seen within both bush stories.

Westerns connote images of dirt, dust, guns, horses, cowboys and heroes: physically strong, iron-willed, independent, resourceful, quick-witted men. Although the modern Western (the writings of Louise L’Amour, Zane Grey and the numerous films starring John Wayne, Roy Rodgers, Gene Autry) seems to focus on this ideal hero, the genre actually also provides women with strong, self-reliant, active roles. In fact, many texts that precede the typical modern Western had females as the main characters. However, the role of the heroine still differs from that of the hero; the role does not defeminize women but gives them depth as characters. These women still retain their femininity and domesticity, but they also rescue those around them, take care