The Son's Veto Analysis

Mama is not the only character that is intricately characterized in the book. Beneatha, Lena’s daughter, is also put together to represent the inevitability of living like one of the lower class. She says that, “George looks good- he’s got a beautiful car and takes me to nice places..” (Hansberry 49) While this quote defines Beneatha’s acceptance of George’s privileged life, it is said with a shadow of jealousy. According to Freydberg, a writer and author, this “establishes the class differences between the Youngers and the Murchisons.” This new “fine line” that separates the upper and lower class creates individual characteristics that define each class. Darwin Turner, an honored African American who taught at the University of Iowa, asserted that even though the “blacks and whites have similar character traits and similar values, they are ambivalent about social interrelationships.” These two races are truly self-defining, and the inequality between these two ethnicities proves it. With Beneatha’s apparent jealousy for the life of the upper class, the text

Brontë further comments on social structure as even the distinct social classes are blurred. Mrs. Fairfax and Jane were forced to fit into society’s social classes, yet in the Rochester household, they are left in the middle of the low and high social class; they neither members of the family nor members of the serving class. Jane is left to question the qualities of each social class and if each are as enforced as they are said to be; people are forced to confine into their proper place in society, however, the distinctions from each class are constantly

With striking similarity in both appearance and personality, it seems that Amory has “inherited from his mother every trait, except the stray inexpressible few, that made him worthwhile” (3). Fitzgerald is pointing out the meaningless of the trappings of the upper class. Although Amory and Beatrice are rich and beautiful, these traits do not make them worthwhile. It is the characteristics that Amory develops on his own, without Beatrice’s influence, that redeem him.

Douglas describes Sophia Auld’s change “under the influence of slavery” her “cheerful eye, under the influence of slavery… soon became red with rage” her “voice, made all of sweet accord, changed to one of harsh and horrid discord; and that [her] angelic face gave place to that of a demon” (Douglas 78). Despite her good nature, his mistress succumbed to the power that came with being a slave owner. One’s nature may play a part in his disposition, but who one actually becomes depends on his or her temptations and environment. Bradbury conveys this through the mindless culture of his world that “nips most of them,” “the queer ones” who are “exceptionally bright” and think for themselves, “in the bud.” Simply exposure to the school environment suppresses the intelligence and curiosity in children and them empty, pleasure driven drones. They are corrupted by their society, not necessarily by their own disposition. Thus both authors show In summation, Douglas and Bradbury similarly express the importance of one’s environment and situation to their his or her

Vivid images can be found abundantly throughout the novel and helps to portray scenes to the point where the audience can actually imagine, smell, touch, and hear everything that is going on. “No matter how they scrubbed their hands, the residue of Red Hot Mama had a way of sticking round, as pesty and persistent as a chaperone at a high school dance.” (158). In some instances the audience can acquire a sense, based on the description whether the characters are self absorbed, considerate, or overly concerned about their appearance. “I ought to be shot for looking like this” she’d tell the mirror in the front hall before going out the door. “I look like I’ve been drug through hell backwards,” she would say on and ordinary day. “Like death warmed over. Like something the cat puked up.” (103). The emergence of the images presented in the novel can help present a better understanding and in some cases, a connection to one of the

Wiesel employs characterization throughout the book to show the creation of fictional characters. The use of this literary element lets the audience connect to the story and characters. He

Sometimes, authors use personification to create emotions in a reader for something they would not normally create many feelings.

On April 23, 1949, the Illinois Governor, Adlai Stevenson, wrote a satirical yet professional response to a citizen's request to restrain all cats. This veto is titled, The Cat Bill Veto. The Illinois senate received a bill from a concerned citizen. The citizen feels that cats should be contained because of the public nuisance some see cats to be. Stevenson writes a letter expressing understanding of the situation, but reminding the Senate that this is a minor issue compared to the major problems being faced. While analyzing Stevenson´s response to the bill, many of us will recognize the satirical diction and Stevenson´s ethical credibility being revealed.

The usage of characterization allows for the creation of a credible figure. A subject whose individuality reflects their personality and intricacy. The instillment of life and relatedness between readers and characters forge a connection. The Development of diction also augments the authenticity of personification. As in The Catcher and in the Rye, J.D. Salinger indirectly creates Holden through his behaviors, thoughts, and interactions.

aims his focal point at imagery to provide vivid and rich details. Literary devices play a crucial

In Charlotte Bronte’s novel, Jane Eyre, Bronte seemingly condemns the existing social hierarchy. Not only are the characters who are most concerned with the allure of fortune and rank portrayed as either deceitful or unethical, but even characters who’ve accepted their means of poverty and demonstrate honest moral natures are mocked. Rather than use the normal class structures, the book suggests that a person of impoverished means can be viewed as socially respectable with the condition that they maintain a sincere desire to better both oneself and their means of living.

Based on the ideas of Karl Marx, this theoretical approach asks us to consider how a literary work reflects the socioeconomic conditions of the time in which it was written. What does the text tell us about contemporary social classes and how does it reflect classism? Jane Eyre depicts the strict, hierarchical class system in England that required everyone to maintain carefully circumscribed class positions. Primarily through the character of Jane, it also accents the cracks in this system, the places where class differences were melding in Victorian England. For example, the novel questions the role of the governess: Should she be considered upper class, based on her superior education, or lower class,

Throughout the course of history, social hierarchies have existed across the globe, spanning from prince to pauper or business tycoon to lowly scrivener. Authors, in turn, have written works regarding social class, often examining the negative effects of societal structure on personal growth. Charlotte Brontë’s Jane Eyre takes place in Victorian England, in the age of industry and genesis of industrial capitalism. The novel’s protagonist, Jane, first lives a life of neglect, then a life in poverty, and eventually finds her happy ending. Through Jane’s personal experiences and interactions with fellow characters, Brontë analyzes the effects of social class. Professor Chris Vanden Bossche’s article analysis “What Did ‘Jane Eyre’ Do? Ideology, Agency, Class and the Novel” examines social inclusion and monetary pressures placed on the central characters during this pivotal era of English history. Through the Marxist lens, Jane Eyre can be understood in terms of complexity and character motives. Vanden Bossche effectively argues that external forces, like money and people, both motivate and repress Jane into choosing her own path. Thus, a more developed explanation is made for Jane’s various behaviors regarding social inclusion and societal rebellion.

Jane Austen and Charlotte Bronte explore social class in a number of different ways throughout their novels Pride and the Prejudice and Jane Eyre. They do this through the use of stylistic devices which in turn appeals to their different audiences. Both Jane and Charlotte are notable writers for their remarkable texts. Jane Austen is known for playing a revolutionary role in the generation of English female literature, which was counteracted by this piece- and Charlotte Bronte also developed her feminist thoughts, which have been displayed throughout her novels. By analysing social class in Pride and Prejudice and Jane Eyre this essay will compare these two women writers’ texts and display how social class is presented

Pride and Prejudice is one of the most popular novels written by Jane Austen. This romantic novel, the story of which revolves around relationships and the difficulties of being in love, was not much of a success in Austen's own time. However, it has grown in its importance to literary critics and readerships over the last hundred years. There are many facets to the story that make reading it not only amusing but also highly interesting. The reader can learn much about the upper-class society of this age, and also gets an insight to the author's opinion about this society. Austen presents the high-society of her time from an observational point of view, ironically describing human behavior. She describes what she sees and adds her own