What Is The Moral Of The Skriker

(TS) In Sue Monk Kidd’s novel The Secret Life of Bees, Lily Owens does not have an empathetic relationship with her parents as a result of the loss of her mother and an abusive father; however, Lily gains a new family figure, August Boatwright, who shows her the true empathy that is present between a parent and their child. (PS) Lily Owens’s absence of a mother and a “real” father causes Lily not to have a relationship with her parents that is filled with affection for one another. (SS) When Lily lost her mother, Deborah Fontell, she was told that she had shot and killed Deborah. (SS) Lily would say, “I would meet her saying, ‘Mother forgive. Please forgive,’” and she would kiss my skin till I grew chapped and tell me I was not to blame”

2. Skloot uses vivid imagery and details to describe Henrietta’s childhood in Clover. Locate a passage that you found particularly effective or memorable, and explain why you selected it.

The Queen bee is the novel’s symbol of a mother figure and is used throughout Lily’s

This is a very clever idea as it is really effective in helping the audience to remember the story because they can link it to something they already know. This tale is about a father who wanted a son but had a daughter, Maggie, instead. Sadly, when his wife finally fell pregnant with a boy, the baby died during birth so, trying to cheer the mum up, Maggie wandered into the bush to find flowers. However, she went too far and became lost only to be found five days later, dead in a hollowed out tree. Again, they release the child’s spirit from the orphanage by flinging a sheet into the air. The nursery rhyme used in this section of the play is ‘Ring a Ring a Rosie’ and it is a clever use of intertextuality as it creates a foreboding mood through the use of foreshadowing since Maggie sings it at the start of the section. This is the third story told so at this point the audience will recognise a sort of episodic plot. The orphans go through their daily duties, chores and horrific encounters with The Black Skirt, then at night time find themselves awoken by the storms and the restless spirits trapped within the orphanage walls. Space is used well within the set and location of the play as the actors find themselves on a relatively small stage that is quite full with few, but large props. They move around with what can only be described as perfect choreography that allows them to flow from each action to their next position on stage. It is interesting to note that this performance of ‘Children of The Black Skirt’ took place in an empty church, a clever use of symbolism that aided in the audience’s recognition of the spiritual elements that were key in the play’s

She is upset by the loss of the day even though her mother attempts to distract her with a garden of flowering violets, her father also attempts to comfort her. Finally, she returns to sleep after dinner. Her memory is a positive memory and the motif if the violets are used to link the past and present as it will help her get through her dark times. In the visual her memory is included, and he mother confronting her is one of the main images that she remembers from this. The image of her mother comforting her is a very important one, as it establishes the role and persona of a mother at the time and how women in that era were seen as to stay home look after children and the men went out and worked to support the

Seemingly, the flowers represent Elisa. She believes she is strong and tough and able to accomplish anything thrown her way; however, taken for granted as she is only a woman allowed to look and act accordingly. Surrounding the flowers is a wire fence set up to keep out predators and to separate the flowers from the rest of the farm. The wire fence is symbolic in the fact that it is identical to the world Elisa lives in. Elisa is contained within the farm, unable to explore or leave without the help of someone else. Elisa is stuck on the farm, isolated from the rest of the world so that she can be kept safe. Naive and unaware of how the world works, her husband keeps her on the farm to protect her from harm. When Elisa gives the chrysanthemum to the travelling merchant, she gives him a small piece of herself. Later, as her and her husband are driving to town, she sees the flower tossed aside as though it was nothing; as a result, she realizes she could never go off on and live the way the merchant had. The flowers embody her character still, and how out of her home without protection, the world can be harsh and cruel. In short, Elisa’s isolation leaves her ignorant, unable to understand how callous the world is, and comes to the bleak realization that she can’t live a life anywhere outside of her fence. Because of how women were treated, constantly pushed down and unable to pursue their interests, Elisa is left unable to learn what life has to offer. Learning

Lily, a fourteen-year-old white girl, lives alone with her father, a peach farmer, in Sylvan, South Carolina. As the novel opens, she lies in bed, waiting for the bees that live in the walls of her bedroom to emerge and fly around, as they do most nights. T. Ray, her father, is abusive and does not believe her story about the bees. Her nanny and housekeeper, Rosaleen, believes Lily but also thinks Lily is foolish for trying to collect the bees in a jar. Lily recalls her very last memory of her mother, Deborah, who died when Lily was a small child. Lily thinks that she played a horrible part in Deborah’s death. In a flashback, readers learn that T. Ray told Lily that she accidentally shot Deborah while Deborah and T. Ray were fighting one day.

At this point the poet uses symbolism substituting a flower for his mother. This is an appropriate symbol as, like his mother, a flower is feminine, delicate and

John Steinbeck’s short story, “The Chrysanthemums” features many themes: themes of gender suppression, love, passion, and betrayal. This short story revolves around the character Elisa Allen who has a strong love and a great passion for her flowers, for her beloved chrysanthemums. However, when a mysterious man arrives towards the end of the text Elisa’s love and passion for the chrysanthemums weakens and she feels betrayed by one of the things she loves most. Steinbeck uses the unlikely encounter between the Tinker and Elisa, as well as, the encounter between Elisa and her husband as a way to express the theme of love and betrayal.

Author also surprises readers, when he introduces conflict between a couple that used to love each other deeply. Diverting the story from love to betrayal, author develops an irony. In the story, reader sees two examples of betrayal. Ms. Maloney, while talking with her tired husband, finds out her husband no longer want to keep their marriage. Without giving any kind of reason, Patrick betrays her wife with a decision of breaking marriage. Mary shocks, when her husband, boldly, says, “ This is going to be bit shock of you”(P. Maloney) Author creates a total opposite picture of Patrick by describing him as a husband who used to give her wife surprises; he is now giving her shock in the middle of her pregnancy. Mary, who was previously shown as “anxiety less”(Dahl), with “a slow smiling air”(Dahl) and “curiously tranquil”(Dahl), had began to get upset and now inculcate her eye with a “bewildered look.” After betrayed by her husband, she, without any argue, she goes to the basement to look for frozen food. She decides to have leg of a lamb as a last dinner with her husband, but she smashes the frozen leg in to Patrick’s head with killing him. Mary betrays her husband by killing him and takes revenge of her betrayal. Later, Author confirms her as a murdered with the statement of “I’ve killed him”(Mary) from her own lips. Dahl, in the story,

Throughout the passage Sue Monk Kidd forges many instances of symbolism to convey the real meaning of the passage. An example of this is when Lily digs up the tin box, “The tin box was buried in the soft dirt beneath the tree, shallow enough that i could gid it up with my hands”(18-19). The tin box in this case in the story refers to her mom's coffin that she digs up. Another key example of symbolism is the boots in the hallway, “ I didn't see his boots, how he’d parked them in the middle of the hallway” (8-9). The boots in this scenario symbolize T. Ray and how he is figuratively the only thing stopping Lily from her plan. The author implements symbolism to add depth to the meaning of the passage to engage the readers into the

The chrysanthemums being fenced in from the rest of the ranch symbolizes her feelings of isolation. Elisa craves to live an exciting life like the tinker does but is told that such lifestyle women cannot live. A reader could analyze that Elisa’s chrysanthemums are a replacement for the children she lacks. In Skredsvig analysis she states, “Elisa's planting skills is the possibility that her gardening is a sublimation of her frustration over having no children and a projection of her "natural" role as mother” (Skredsvig). Elisa tends them with love and nurture as the flowers are her pride and joy. Additionally, they represent Elisa’s femininity and sexuality as a woman. For example, Elisa feels resentful of Henry because he does not appreciate her femininity image; however, after having an encounter with the tinker, her hopes are renewed and revived for a brighter future. As she gets ready for a night out with Henry, she admires herself in the mirror appreciating the beautifulness of her sexuality with confidence. After witnessing her flowers wrinkled on the road, Elisa is devastated to see her flowers diminish symbolizing

Her uncontrollable sexuality is the derivation of Hamlet's suffering.  Gertrude "becomes the carrier of the nightmare" (259); she initiates Hamlet's quest to "free the masculine identity of both father and son from its origin in the contaminated maternal body" (261).  In attempting to exculpate the masculine, Hamlet ultimately confuses and merges the two figures of paternity, Hamlet the Father and Claudius.  Adelman suggests that as Hamlet tries to differentiate between the two loves of his mother, he confutes and "collapses" the two men into a single impression of masculine appetite (264).  Hamlet, according to Adelman, cannot distinguish his father from his uncle because he identifies both men with "an appetite for Gertrude's appetite" (264).  Sexual relationships define the drama's causality and Hamlet's perception.  Adelman points out that because of Hamlet's lack of a distinct, "idealized" father he "relocat[es]" his identity-predicament in "the female body," in his mother (266-67).  Adelman makes another reaching and defining statement when she claims that "this subjection of male to female is, I think, the buried fantasy of Hamlet, the submerged story that it partly conceals and partly reveals" (268).

love for Hamlet in the beginning of the play, but eventually is forced to throw herself to Hamlet,

In Ian McEwen’s Nutshell, the representation of the fetus as a male character is extremely vital to the novel’s narrative. That is, the fetus as male reveals the narrative of Nutshell as a love story between the fetus and the mother—in respect to sexual tension. The parallel between the love story of Trudy and the unnamed fetus resembles the incestuous relationship between that of Hamlet and Gertrude. Through the representation of gender in Nutshell, McEwen reveals theories presented by Sigmund Freud and Jacques Lacan concerning the Oedipus Complex and the role of the phallus. Further, McEwen explores these theories throughout the novel by the intertextuality of themes from Hamlet. The unborn fetus reveals multiple times his love for