Theme Of Fog In Long Day's Journey Into Night

He also tells the reader that even outside London?s centre fog is still covering everything, ?Fog on the Essex marshes, fog on the Kentish heights. Fog creeping into the cabooses of collier-brigs?. Dickens also uses fog to symbolize death and disease, ?Fog in the eyes and throats of ancient Greenwich pensioners, wheezing by the firesides of their wards?. He makes the reader feel as if it is infecting and killing the inhabitants of London, and gives the reader images. In my opinion Dickens is trying to make the point that the fog is spreading and it is London?s fault that one day everywhere will be covered and everyone will be cloaking on the mistakes London made.

Mary tells Cathleen how she loves the fog, which can be interpreted as her love for the morphine that removes her from any type of coherence. Mary was on a path to recovery and now has slowly lapsed into her state of addiction once again. She likes this state because “ It hides you from the world and the world from you. No one can find or touch you any more” (O’Neill 773). For Mary, this fog is representative as an alternative or refuge from reality. Her relapse into addition causes clouds her judgment and impairs her sight. She can hide herself in the fog so that her family can be oblivious to her addiction.

I must say that this film is very traumatizing. There are some images in this film that will be burned and scarred into my mind for as long as I live. I have seen many holocaust films, but no one was as near as dramatic and depicting as Night and Fog. However I did like the theme of this movie. It is very sad but yet realistic. Our minds are murky and dull. We tend to only remember the important situation in our lives. Yet we don’t remember the importance of our own history. I say OUR history be cause we all are human beings on this earth. Whether we believe in Allah, Jesus, Jehovah, or whatever higher power, we are all one race, and that the human race. It is very sad to know that human beings were treated and

Throughout the short story "Long Day's Journey `into Night" the author, uses the Tyrone family to show much the past interferes with the future. The woman of the household, Mary, has the most problems. Not only does she despise her husband for never giving her a proper "home", but she also felt like he was the cause of her getting addicted to morphine by not getting her a better doctor to deal with her pain after the birth of Edmund. When it comes to the children, Jamie, and Edmund, they resent their mother for being an addict and their father for always being so cheap. The patriarch of the family, Tyrone, is resentful because missed out on getting his big break from acting.

In stanza four, “there is still some water left over” alludes that the friendship of the persona and their company will endure and the strength of it will be enough to “refresh them”, even though their time is limited. Harwood comments on the use of the water motif in “Lamplit presences”; “In “At Mornington”, elements of the past, present and future are used in images of water…the first source of the flux of life: the water of the infinity of death”. The concept of the water motif alludes to the ________ of death and rebirth, and of the transitional stages of life. At the beginning of the poem, water represents the innocence of childhood, toying with the childish belief that life is infinite, displaying the persona as a child being saved by her father and tossed amongst the waves; “…and was caught by a wave and rolled/ like a doll among rattling shells/ and I seem to remember my father/ fully clothed, still streaming of water/half comforting, half angry”. Towards the end of the poem, the water is seen as a method of redemption and death, depicting the persona introspectively alluding to their acceptance of death; “…and when I am seized at last/ and rolled in one grinding race/ of dreams, pain, memories, love and grief/ from which no hand will save me…” This central motif of water, and its

In the first chapter of How to Read Literature Like a Professor, every trip a protagonist takes becomes a quest in the story. These quests often entail a Quester (the protagonist), a specific place to go, a reason to go to a said place, obstacles, and challenges on the way, and the Quester’s real reason to go to said place. Whatever is gained from this quest can vary from unlimited wealth to a whole lot of nothing, but the Quester seems to always be guaranteed to receive one thing: self-knowledge. In chapter 2, Foster emphasizes the point that whenever people eat or drink together, it’s communion. Basic survival states that people need food to be able to live.

Bradbury uses similes to convey imagery in The Pedestrian: explaining the bitterness of the air due to the chilly air, comparing a highway to a stream, and using his shadow to the shadow of a hawk. First, he uses a simile to help the reader visualize the chilly weather by comparing the inside of his lungs to the “blaze of a Christmas tree”. This means that his lungs are burning because of the bitter air. This helps us visualize the frigid temperatures of the night which helps us get a sense of the time of year this story takes place: winter. Secondly, he uses a simile to help us visualize how empty the highways are by comparing a highway to an empty stream saying that the highways “ were like streams in a dry season, all stone and bed and moon

In the text Three Day Road, Joseph Boyden develops the idea of the characters restoring their honor and certainty after traumatic events. Showing how humans are capable of flaws without fault, as they move deeper into the darknesses that are haunting them. Explaining the character’s thoughts as they slip farther away from who they are. A fight to keep their honor while faced with addiction, keeping a relationship with family, friends and keeping the loyalty they owe others.

The novel House of Sand and Fog, written by Andrew Dubus III, is a story about how society, events from the past and present situations can affect people’s persona, anima/animus, shadow and self which eventually influences their decisions about life. Dubus explores the conflict between two completely different people with opposite persona. Colonel Masoud Behrani, once a wealthy man in Iran, is now a struggling immigrant willing to bet everything he has to restore his family’s dignity. Kathy Nicolo is a troubled young woman whose house is all she has left, and who refuses to let her hard-won stability slip away from her. These two characters are drawn by their competing desires to the same small house and domed by their tragic inability to

When Jim talks about the fog he relates it to slavery. He thinks that by keeping quiet and pushing through the fog will start going away and everything will become clear, ad by clear he means freedom. I think that this is foreshadowing a good ending to all of the bad things that have been happening.

In conjunction with the symbolic representation of Elisa’s life, the dramatic description of the environment can also be seen as a unique representation of the relationship conflict between husband and wife. Steinbeck’s foggy description demonstrates conflict through the following statement, "a time of quiet and waiting." This description is interesting because the fields are personified as waiting for rain, however, “rain and fog do not go together” therein lies the conflict just as Elisa waits for a positive change in how her husband treats her (Palmerino, Gregory J). Gregory P. further points out that, “The natural elements of the foothills ranch seem as unwilling to confront each other as the characters that inhabit its environs. Hence, fog and rain can be seen as the female and male equivalents to Elisa and Henry.” This only further solidifies the deep rooted troubles within Elisa and her relationship with her husband. The setting of the story is personified to act as a symbolic representation of the couple’s relationship (Steinbeck, John 337-338).

“The effective war film is often the one in which the action begins after the war, when there is nothing but ruins and desolation everywhere…”

The necessity of balance within the human mind is addressed by the theme of action and inaction within the play. Hamlet, the protagonist of the play, must seek revenge for his father’s murder. However he suspects that his informant, the ghost of his father, could be the devil in disguise, so Hamlet requires proof that Claudius is guilty. In act 2, scene 2, Hamlet soliloquises, ‘I’ll have grounds / More relative than this. The play’s the thing / Wherein I’ll catch the conscience of the King’. The use of iambic pentameter, and the rhyming couplet at the end of the scene conveys the importance of the plan. Hamlet has asked the players to perform a scene, mimicking his father’s murder. If Claudius is guilty, he will react poorly to the scene. This example of careful planning illustrates the balance between thought and action that humanity seeks to exemplify. In act 3, scene 1, Hamlet declares, ‘Thus conscience does make cowards of us all, / And thus the native hue of resolution / Is sicklied o'er with the pale cast of thought’, soliloquising that natural instinct is inhibited by thought. The personification of fear and the connotations associated with the words, ‘sicklied’ and ‘pale’ depict action as strong and thought as weak. This power imbalance between action and thought foreshadows the climax of the play, where action without thought provokes chaotic consequences. In act 5, scene 2, Horatio says to Hamlet, ‘If your mind dislike anything, obey it. I will forestall their repair hither and say you are not fit’. Hamlet replies, ‘Not a whit… If it be now, ’tis not to come. If it be not to

Women are often perceived as mother figures who stand by their husbands no matter what type of situation they encounter. They are expected to give a perfect image to society and do not get the greater say. Eugene O 'Neill’s play, A Long Day’s Journey into the Night (1940), gives the reader a representation of a woman who is still influenced by these standard societal expectations. The character, Mary Tyrone, depends greatly of her husband and will not leave him even if she wanted to. In The Awakening (1899) by Kate Chopin, the reader is introduced to Edna Pontellier who is the complete opposite. She exposes the dissatisfaction that women feel and decides to act upon it. These two characters feel that they do not belong in the lifestyle they are given. They struggle with their identity due to their husbands’ lack of affection. As a result, marriage becomes a barrier to their happiness and individual fulfillment. The sense of displacement, marital dissatisfaction, and loss and gain of identity pushes both Mary and Edna to take major decisions in order to deal with their pain and desires.

In the play, Mary is a beautiful woman and lives the life like any other girls of her time; but she is emotionally attached to her sons and her family when she marries into the Tyrone family. She is also getting old, so she keeps going on her days worrying about her change of appearance. She suffers from a morphine addiction and she is psychologically wounded because of her past. She tries many times to break free but she could not stop as she spends time with her family. She has gone through many struggles but she cannot move on with her life. She keeps looking back into the past; and she regrets marrying into the family because of the dreams she had to sacrifice such as becoming a nun or a concert pianist.