What Is The Theme Of The Shawl By Cynthia Ozick

Smith-Yackel’s essay illustrates the grieving process while on a phone call with the Social Security Office to collect potential benefits from her mother's passing. While placed on hold, she reflects the life her mother had lived. During this period of reflection, this is when Smith-Yackel exemplifies the use of imagery within a narrative. She creates vivid images about the hardships her mother once faced. For instance, when her mother and father first got married, they began farming. Farming created a wide variety of new tasks, “She carried water nearly a quarter of a mile from the well to fill her wash boilers in order to do her laundry on a scrub board” (Smith-Yackel 115). Her mother had to not only become physically fit but mentally fit in order to take on the challenges their farm created. Her mother was relentless in making sure her children were well taken care of. In another section of the narrative, imagery is used once again to show the sacrifices her mother made. Smith-Yackel states, “In the winter, she sewed night after night, endlessly, begging cast-off clothing from relatives, ripping apart coats, dresses, blouses, and trousers to remake them to fit her four daughters son” (Smith-Yackel 116). On top of all the other chores their mother did during the day, she also worked through the night to ensure her family’s comfort. Also, another rhetorical strategy within

The fact that the narrator could not fix the torn part of the jacket can indicate that his family is struggling to afford money for themselves. These certain examples help portray the issues of poverty that the narrator's family struggles.

In the short story “From Behind the Veil,” written by Dhu’l Nun Ayyoub, the author changes how we feel about the main character throughout the sequencing of the plot. We as the readers learn more about how the protagonist really thinks coupled with what her motives are. The author also presents language that clearly expresses how the protagonist feels and uses examples to show an overall theme in the story.

In Kenneth Slessor’s 1942 poem ‘Beach Burial’ he also comments about survival in war and the power in distinctively visual ways through particular words. He relies upon adjectives, personification and the use of imagery to describe the suffering.

“Undressing Aunt Frieda,” is a poem about the narrator’s remembrance of his Aunts life while visiting her on a death bed. The narrative is in first person, and takes place as the narrator and his daughter are about to leave the relative. The first half of the poem explores Frieda and her past. The second half is about how the narrator and daughter have grown and learned from the aunt. While undressing her aunt, the narrator feels emotions and remembers his past with Frieda. The poem describes these emotions and memories in a metaphor explaining unique characteristics of how Aunt Frieda undressed, and how she impacted the relatives.

It is often taught that to be persuasive, one must be clear and logical. In “The Wheelchair Butterfly,” James Tate takes a completely different approach; instead, he utilizes chaos to further his meaning and connect with a specific readership. Largely, it is Tate’s structure that reflects this chaos, and the meticulous arrangement of “The Wheelchair Butterfly” signifies that its setting and occurrences portray something more sinister than a bizarre and moderately grotesque town. Tate’s target readers for this elaborate, empathetically chaotic poem must be educated enough to be able to parse through his imagery, open to self-examination, and part of a society in a time of elevated social and political conflict. Thus, Tate gesticulates towards the hidden, systematic corruption common of societies with elevated social conflicts in a way that connects with the conflicted feelings his specific readership might feel towards this corruption in their own lives using elements of structure such as surreal imagery, enjambment, and simile. Using these elements, Tate attempts to relate to his readers by distracting them, creating a confusion versus clarity disparity, and transforming the nature of their concerns to make them softer and more acceptable. Because Tate’s target readers will attempt to decipher the poem’s hectic contents, these factors give readers an opportunity to examine themselves along with the poem. This highly empathetic and unconventional approach, similarly seen in Frank O’Hara’s “A Step Away From Them,” has its successes as well as its downfalls, mostly in terms of its range of readership. Though poems more explicit about their intentions, such as Lucille Clifton’s “[i am accused of tending to the past],” may be more accessible to a greater number of readers, some level of empathy is lost in their candor. The key difference between Tate and O’Hara’s poems versus Clifton’s poem, then, is a matter of being understood by a wide range of readers versus being compelling to a small group of readers. ?

The interplay of dark and light motifs underlies the narrator’s most recent hardship. On his way home on the subway, the narrator comes across his brother’s name in a newspaper and “stared at it in the swinging lights of the subway car, and in the faces and bodies of the people, and in my own face, trapped in the darkness which roared outside” (Baldwin). Riding in the light of the subway car, the author makes the non-suspecting narrator subject to suffering, unguarded by the protective cloak of the outside darkness. Made vulnerable by the exposed light and people surrounding him, the narrator is hit harder by the unexpected news than if he had read it in the darkness of his private room. Under the “swinging lights,” the narrator is not prepared to cope with the troubling news. This emphasizes the importance of light as a symbol for one’s need of camouflage to properly cope with tragedy.

In “The Ones Who Walk Away From Omelas” by Ursula Le Guin, the informally-speaking narrator depicts a cookie-cutter utopia with perpetually happy citizens that sing and dance in the music-filled streets during the Festival of Summer. However, under one of the beautiful public buildings lays a child, no older than ten years-old, who lays in its own excrement. Although the citizens know the emancipated child is there, they refuse to act upon the child’s suffering, for their happiness depends entirely on the child’s abominable misery. Through ethos, the narrator illustrates this utopian society with a casual tone and frequently asks the audience for their input. Le Guin’s fairy-tale introduction of the story establishes her credibility through her extensive knowledge and understanding of the people of Omelas. Le Guin utilizes logos through the narrator’s second person point of view which incites the audience to draw their own conclusions about the city of Omelas and question their own justifications of the child’s existence. The concept of the happiness of many relying on the necessary suffering of one forces the reader to question their own morals and their justifications for the child’s physical and mental condition. Through ethos, logos, and pathos, Le Guin presents the contrast and divide between the citizens of Omelas and the child in the cellar in order to challenge the reader’s capacity for moral self-conception.

“The Book Thief” presented a story filled with various themes that comprised a powerful plot line. Although there were many themes in the story, there was one that stood out to me more than others. In the process of reading the book, the theme of suffering affected me the most. The definition of the word suffer is to experience or be subjected to something bad or unpleasant. Different characters within the story are subjected to dreadful feelings and are therefore suffering. Through my analyzation, I observed the three different types of suffering that the characters experienced: guilt, feelings of emptiness, and anxiety. The characters of “The Book Thief” experience these three types of suffering in different ways.

Although the Landmine and the Rope in Melissa Range’s poems are both made to participate in horrifying violence against the innocent, the Landmine reveals its boastful indifference by twisting imagery of life and hope into a grotesque threat to haunt the world of peace long into the future, while the Rope reveals its humble sympathy by longing for a future that redeems violence by affirming life and beauty

In the short story The Shawl by Cynthia Ozick, we are introduced to three characters who are facing death surrounding them in a concentration camp. We are introduced to Rosa, Stella and Magda. Rosa is the mother in the story of Magda, Magda is a young baby whose odds of survival is not very good. We are also introduced to Stella, who is a demon in the mind of Rosa. Stella represents the life that Rosa once had, one where she did not have a child and did not have to put someone’s life before them self. Stella appears to have all the human features, have emotions and has human flaws, but she taunts Rosa while she is in the concentration camp. Stella also brings Rosa something that she could not do herself, the feeling of relief of a horrible

The theme of suffering can come in numerous varieties; under categories both physical and emotional. Suffering is presented as a key concept in ‘Othello’, ‘Wuthering Heights’ and ‘One flew over the Cuckoo’s Nest’. All three texts explore many aspects of suffering in parts, however the most obvious and concentrated facet leans towards the psychological aspect rather then the physical side. In the three chosen texts many of the characters suffer from some sort of emotional trauma. Psychological suffering and distress is a major topic in all three chosen texts as the authors use this ailment in order to drive the storyline forward,

First, let’s start off with the central symbol Ozick uses, the shawl. The shawl itself carries various meanings to the reader and symbolizes something different to each character. “Rosa, Stella and Magda form a group on the basis of their shared illusion concerning the “magic shawl”” (Gordon 322). One of the first symbols the shawl delivers is life and death. This “magical shawl” has nourished Magda for three days and three nights due to Rosa not being able to produce milk for her. In the story it says “The shawl was Magda’s own baby, her pet, her little sister.” (Ozick 248) which tells us that the shawl has become Magda’s life. The shawl somehow seems to feed her, protect her and keep her alive. “For Magda, this shawl has become everything: mother, food, clothing, and shelter.”(Gordon 322). Even though the shawl in some way kept Magda alive and it symbolized her life, unfortunately at the end it became the symbol of her death. “Even though the shawl did not literally wrap her in death, the shawl that nourished her and protected her in life was the same cloth that brought about her death” says (Jones 1) Stella started getting cold and took the shawl away from Magda which became the reason of Magda’s death. She then started howling after noticing she didn’t have her shawl which made a Nazi officer notice her existence and caused her death.

Suffering becomes a way of life for Magda, Stella and Rosa, as they struggle to survive during the Holocaust. During these trying times, some cling to ideals and dreams, while others find unusual vessels of hope – like the shawl – to perdure in their austere living conditions. Although the shawl becomes a source of conflict between Magda, Stella and Rosa in this narrative, it also serves as a pivotal force and a motivational factor. In Ozick’s “The Shawl”, a small wrap allows its owners to triumph over the adversities of a concentration camp, the “magic shawl” comforts, nourishes, protects and prolongs life.

In Kate Chopin’s “The Story of an Hour”, Louise Mallard is caught in a cold marriage and a constrictive house. The same goes for Sarah Penn in Mary Wilkins Freeman “The Revolt of “Mother.’” Despite the fact that both stories share the topics of imprisonment and control, physically and inwardly, the ladies in the stories have diverse responses to their circumstances. Sarah battles the confinements without holding back, taking her opportunity, while Mrs. Mallard adopts a motionless strategy and is just liberated through the death of Mr. Mallard.