"Death snatches away many blooming children, the only hopes of their doating parents: how many brides and youthful lovers have been made one day in the bloom of health and hope, and the next a prey for worms and the decay of the tomb!" (Shelley, 130).
In the above passage, Shelley effectively personifies death. This personification serves two purposes: to emphasize the strength of death and the erratic and unpredictable path that it follows. Arguably, death may be seen as a motif in Frankenstein to some, and its recurrence greatly supports this claim. By attributing human abilities to death, Shelley magnifies how powerful and destructive the death of an individual can be for others. Furthermore, the connotation of "snatch" implies rapidity, alluding to the unpredictable nature of death, as is seen in the tragic deaths of William and Justine. One theme of Frankenstein centers around the relationship of parent and child (or creator and creature), and this quote serves to reference this theme. The innocence of children (and the monster in correspondence) is referenced throughout the novel, and Frankenstein's contempt for his creation betrays the stereotypical, nurturing disposition of an individual in such a role.
Thursday, April 22, 2010
Wednesday, April 21, 2010
Frankenstein #9
"'Devil, cease; and do not poison the air with these sounds of malice. I have declared my resolution to you, and I am no coward to bend beneath words. Leave me; I am inexorable" (Shelley, 123).
Clearly, Frankenstein still lacks any form of legitimate respect for the monster on the same level for which he would respect a human being. By referring to his creation as a devil, Frankenstein further perpetuates the theme of disgust and lack of acceptance. The personification in this passage, attributing air with the ability to be poisoned, reflects Frankensteins belief of the potential magnitude of the creature's destruction. Furthermore, this passage serves to reaffirm the characterization of Frankenstein as a firm and stubborn individual, as was evident even in the account of his childhood. Frankenstein refuses to bend to the will of the monster, and claims to be "no coward to bend beneath words." Thus, Frankenstein exhibits courage in the face of danger, though this courage may negatively characterize him because of the reader's sympathetic attachment to the monster.
Clearly, Frankenstein still lacks any form of legitimate respect for the monster on the same level for which he would respect a human being. By referring to his creation as a devil, Frankenstein further perpetuates the theme of disgust and lack of acceptance. The personification in this passage, attributing air with the ability to be poisoned, reflects Frankensteins belief of the potential magnitude of the creature's destruction. Furthermore, this passage serves to reaffirm the characterization of Frankenstein as a firm and stubborn individual, as was evident even in the account of his childhood. Frankenstein refuses to bend to the will of the monster, and claims to be "no coward to bend beneath words." Thus, Frankenstein exhibits courage in the face of danger, though this courage may negatively characterize him because of the reader's sympathetic attachment to the monster.
Frankenstein #8
"The being finished speaking, and fixed his looks upon me in the expectation of a reply. But I was bewildered, perplexed, and unable to arrange my ideas sufficiently to understand the full extent of his proposition" (Shelley, 104).
Upon the completion of the monster's account, Frankenstein first refers to him as "the being." Prior to his testimony, Frankenstein constantly dehumanized his creature, calling him a demon or monster. However, the pathos yielded from the creature's story extends to both the audience and Frankenstein. Though his relation to the monster may not improve, the mass exposition Frankenstein witnessed undoubtedly alters his perception. In fact, the first sentiments he accounts for the reader are bewilderment, perplexity, and speechlessness. This gives merit to the claim that Frankenstein is shocked to realize the sophistication of his creature. Clearly, he believed "the monster" to be nothing more than that--a destructive creature seeking to wreak havoc on the community. However, after his tale, it is clear that Frankenstein's creature was born with good intentions and still possess a relatively strong moral aptitude.
Upon the completion of the monster's account, Frankenstein first refers to him as "the being." Prior to his testimony, Frankenstein constantly dehumanized his creature, calling him a demon or monster. However, the pathos yielded from the creature's story extends to both the audience and Frankenstein. Though his relation to the monster may not improve, the mass exposition Frankenstein witnessed undoubtedly alters his perception. In fact, the first sentiments he accounts for the reader are bewilderment, perplexity, and speechlessness. This gives merit to the claim that Frankenstein is shocked to realize the sophistication of his creature. Clearly, he believed "the monster" to be nothing more than that--a destructive creature seeking to wreak havoc on the community. However, after his tale, it is clear that Frankenstein's creature was born with good intentions and still possess a relatively strong moral aptitude.
Frankenstein #7
"'Why did you form a monster so hideous that even you turned from me in disgust? God, in pity, made man beautiful and alluring, after his own image; but my form is a filthy type of yours, more horrid even from the very resemblance. Satan had his companions, fellow-devils, to admire and encourage him; but I am solitary and abhorred" (Shelley, 93).
In this excerpt, Shelley utilizes subtle religious allusions to emphasize the hopeless despair of the monster. Frankenstein's monster can not even find solace in looking to God, as he feels he is inferior to man, who is made in God's image. Yet he seeks not to be in union with Satan, though even he has his companions. Rather, the monster views himself as completely alone and victimized in the world. Furthermore, this passage opens with a rhetorical question. The monster's repetative use of such questions manifests his confusion and desire for resolution. He cannot find a solution to his predicament of isolation and wishes for Frankenstein's support. However, he is solemnly aware that he is a "monster so hideous" that integration into society would be nearly impossible.
In this excerpt, Shelley utilizes subtle religious allusions to emphasize the hopeless despair of the monster. Frankenstein's monster can not even find solace in looking to God, as he feels he is inferior to man, who is made in God's image. Yet he seeks not to be in union with Satan, though even he has his companions. Rather, the monster views himself as completely alone and victimized in the world. Furthermore, this passage opens with a rhetorical question. The monster's repetative use of such questions manifests his confusion and desire for resolution. He cannot find a solution to his predicament of isolation and wishes for Frankenstein's support. However, he is solemnly aware that he is a "monster so hideous" that integration into society would be nearly impossible.
Frankenstein #6
""I now move to the more moving part of my story. I shall relate events, that impressed me with feelings which, from what I had been, have made me what I am'" (Shelley, 81).
The shift from Frankenstein's to the monster's narration serves to characterize the monster, providing the audience with evidence of his emotions, motives and desires. The above passage emphasizes the transformation through which the monster has gone since his creation. Contrary to the initial stance of Frankenstein, his creature has matured and developed a relatively human mindset. Allowing the monster to relate his story also yields a prolonged flashback, providing the audience with information of what the creature has been doing since his departure from Frankenstein's apartment. Furthermore, the story of the monster serves to build suspense for Frankenstein and the reader, both of whom wish to know what (if any) involvement the monster had in the death of William and Justine. This transitional excerpt suggests a potential shift into the explication of this tragedy.
The shift from Frankenstein's to the monster's narration serves to characterize the monster, providing the audience with evidence of his emotions, motives and desires. The above passage emphasizes the transformation through which the monster has gone since his creation. Contrary to the initial stance of Frankenstein, his creature has matured and developed a relatively human mindset. Allowing the monster to relate his story also yields a prolonged flashback, providing the audience with information of what the creature has been doing since his departure from Frankenstein's apartment. Furthermore, the story of the monster serves to build suspense for Frankenstein and the reader, both of whom wish to know what (if any) involvement the monster had in the death of William and Justine. This transitional excerpt suggests a potential shift into the explication of this tragedy.
Sunday, April 18, 2010
Frankenstein #5
"He expressed a sorrowful delight to see me. 'Welcome, my dearest Victor,' said he" (Shelley, 51).
In the above excerpt, Shelley employs a paradox and inverted syntax to reflect the bittersweet reunion of Victor with his family. This reunion was scarred greatly by the concurrent murder of the youngest Frankenstein son, William. Mr. Frankenstein's "sorrowful delight" alludes to his relief in finally seeing his son, about whom he and his family had worried for a long time while Victor was ill. However, this relieve cannot diminish the sorrow that the murder of his youngest son has caused. The subtle inversion of syntax in the second sentence also complements Shelley's paradoxical language. This tool further exposes the imperfectness of Victor's arrival which was significantly marred, denying the blissful reunion that may have been expected.
In the above excerpt, Shelley employs a paradox and inverted syntax to reflect the bittersweet reunion of Victor with his family. This reunion was scarred greatly by the concurrent murder of the youngest Frankenstein son, William. Mr. Frankenstein's "sorrowful delight" alludes to his relief in finally seeing his son, about whom he and his family had worried for a long time while Victor was ill. However, this relieve cannot diminish the sorrow that the murder of his youngest son has caused. The subtle inversion of syntax in the second sentence also complements Shelley's paradoxical language. This tool further exposes the imperfectness of Victor's arrival which was significantly marred, denying the blissful reunion that may have been expected.
Frankenstein #4
"No one can conceive the variety of feelings which bore me onwards, like a hurricane, in the first enthusiasm of success. Life and death appeared to me ideal bounds, which I should first break through, and pour a torrent of light into our dark world" (Shelley, 32).
Shelley employs a variety of tools such as imagery and juxtaposition through contrasting language. Imagery serves to convey the thoughtfulness of Victor's contemplation. Furthermore, in this instance, imagery is used to mirror the intensity Victor dedicates to his occupational studies. Juxtaposition is also used in this passage. Victor refers to the bounds of "life and death," and seeks to "pour a torrent of light into our dark world." This juxtaposition serves to reflect the contrasting motives of Victor. Although he seeks success, he primarily works with the motive of curiousity. Furthermore, Victor finds himself torn between his ties to his family and his obsession with his work, and this contrasting language correlates with this conflict.
Shelley employs a variety of tools such as imagery and juxtaposition through contrasting language. Imagery serves to convey the thoughtfulness of Victor's contemplation. Furthermore, in this instance, imagery is used to mirror the intensity Victor dedicates to his occupational studies. Juxtaposition is also used in this passage. Victor refers to the bounds of "life and death," and seeks to "pour a torrent of light into our dark world." This juxtaposition serves to reflect the contrasting motives of Victor. Although he seeks success, he primarily works with the motive of curiousity. Furthermore, Victor finds himself torn between his ties to his family and his obsession with his work, and this contrasting language correlates with this conflict.
Frankenstein #3
"It was a strong effort of the spirit of the good, but it was ineffectual. Destiny was too potent, and her immutable laws had decreed my utter and terrible destruction" (Shelley, 21).
As seen in the excerpt above, Shelley frequently utilizes foreshadowing to elevate suspense in Frankenstein. Throughout the piece, Frankenstein repeatedly refers to his ultimate demise. The audience is thus inclined to project the impetus of such destruction. Consequently, external conflict is magnified in the reader's mind, with potentially exaggerated expectations to account for Victor's end. This excerpt also alludes to the narrator's belief in destiny. This belief supplements Victor's incessant obsession with science and the realm of expected impossibility, serving to mirror the unrealistic conventions implied by the plot.
As seen in the excerpt above, Shelley frequently utilizes foreshadowing to elevate suspense in Frankenstein. Throughout the piece, Frankenstein repeatedly refers to his ultimate demise. The audience is thus inclined to project the impetus of such destruction. Consequently, external conflict is magnified in the reader's mind, with potentially exaggerated expectations to account for Victor's end. This excerpt also alludes to the narrator's belief in destiny. This belief supplements Victor's incessant obsession with science and the realm of expected impossibility, serving to mirror the unrealistic conventions implied by the plot.
Frankenstein #2
"I am by birth a Genevese, and my family is one of the most distinguished of that republic" (Shelley, 14).
Throughout Frankenstein, Shelley utilizes a first-person narrator to explore and magnify the thematic prevalence of inner conflict. Although the plot quite clearly contains external conflict, the first half of Frankenstein centers around the inner conflict and confusion of the protagonist, Victor. Furthermore, the first-person narrator allows further manifestation of the speaker's true motives, emotions, and thoughts. This expository tool also separates Shelley's voice from the piece. Consequently, this disallows an unattached opinion to be asserted through narration. Thus, this technique aids the anecdotal nature of Frankenstein.
Throughout Frankenstein, Shelley utilizes a first-person narrator to explore and magnify the thematic prevalence of inner conflict. Although the plot quite clearly contains external conflict, the first half of Frankenstein centers around the inner conflict and confusion of the protagonist, Victor. Furthermore, the first-person narrator allows further manifestation of the speaker's true motives, emotions, and thoughts. This expository tool also separates Shelley's voice from the piece. Consequently, this disallows an unattached opinion to be asserted through narration. Thus, this technique aids the anecdotal nature of Frankenstein.
Frankenstein #1
"Farewell, my dear, excellent Margaret. Heaven shower down blessings on you, and save me, that I may again and again testify my gratitude for all your love and kindness" (Shelley, 3).
Shelley commences Frankenstein with four introductory letters. This strategic formatting serves to provide subtle background information for the reader. The narrator is introduced, and his prominent traits are exposed through thoughtful characterization. By referring to action that follows the central story of the novel, these letters also serve to foreshadow the events to come. This excerpt in particular portrays the preliminary narrator, R. Walton, as an individual who is extremely lose to his sister, to whom the five introductory messages are addressed. This structure also serves to create suspense, imploring the audience to wonder the connection between R. Walton and the protagonist Victor Frankenstein.
Shelley commences Frankenstein with four introductory letters. This strategic formatting serves to provide subtle background information for the reader. The narrator is introduced, and his prominent traits are exposed through thoughtful characterization. By referring to action that follows the central story of the novel, these letters also serve to foreshadow the events to come. This excerpt in particular portrays the preliminary narrator, R. Walton, as an individual who is extremely lose to his sister, to whom the five introductory messages are addressed. This structure also serves to create suspense, imploring the audience to wonder the connection between R. Walton and the protagonist Victor Frankenstein.
Thursday, April 8, 2010
The Member of the Wedding #10
"The three of them blinked at each other in the light as though they were three strangers or three ghosts. Then the front door opened and F. Jasmine hear her father trudging slowly down the hall. Already the moths were at the window, flattening their wings against the screen, and the final kitchen afternoon was over at last" (McCullers, 123).
Frankie's almost nonexistent relationship with her father in "The Member of the Wedding" serves to emphasize her dependence on Berenice and even John Henry. Although Frankie does not seem to resent her father or even have a terrible relationship with him, the lack of compassion instills curiosity in the reader's mind. This deprivation of a father figure perhaps served as the impetus for Frankie's desire to escape her hometown to live with Jarvis and Janice. There is almost no character exposition of Frankie's father, and his lack of presence heightens the universality of the books theme. Frankie's lack of a strong relationship with her father can be easily applied to a great number of readers struggling with undeveloped relationships or neglect. Furthermore, attributing Frankie's adolescent "mid-life crisis-esque" panic to her lack of a compassionate paternal figure is a reasonable insinuation that may serve for the reader as a needed justification for her otherwise unmotivated pseudo-mania.
Frankie's almost nonexistent relationship with her father in "The Member of the Wedding" serves to emphasize her dependence on Berenice and even John Henry. Although Frankie does not seem to resent her father or even have a terrible relationship with him, the lack of compassion instills curiosity in the reader's mind. This deprivation of a father figure perhaps served as the impetus for Frankie's desire to escape her hometown to live with Jarvis and Janice. There is almost no character exposition of Frankie's father, and his lack of presence heightens the universality of the books theme. Frankie's lack of a strong relationship with her father can be easily applied to a great number of readers struggling with undeveloped relationships or neglect. Furthermore, attributing Frankie's adolescent "mid-life crisis-esque" panic to her lack of a compassionate paternal figure is a reasonable insinuation that may serve for the reader as a needed justification for her otherwise unmotivated pseudo-mania.
Member of the Wedding #9
"But although [F. Jasmine] stood ready in the doorway, she did not go. On this last evening, the last time with the three of them together in the kitchen, she felt there was some final thing she ought to say or do before she went away. For many months she had been ready to leave this kitchen, never to return again; but now that the time had come, she stood there with her head and shoulder leaning against the door jamb, somehow unready. It was the darkening hour when the remarks they mad had a sad and beautiful sound, although there would be nothing sad or beautiful about the meanings of the words" (McCullers, 112).
In the above passage, McCullers utilizes multiple literary techniques to convey the torn feelings of Frankie. Paradoxical language serves to magnify the bittersweet nature of Frankie's departure, referring to the words of this final night having a "sad and beautiful sound," though the words have no sad or beautiful meaning. This dual paradox supplements the complex syntax of this excerpt. The complexity of McCullers syntax draws attention to Frankie's inability to fully articulate or discern her feelings and emotions. Additionally, the kitchen in Frankie's home serves as a significant symbol in "The Member of the Wedding," representing familiarity on the surface, but more importantly, Frankie's relationship with Berenice and John Henry.
In the above passage, McCullers utilizes multiple literary techniques to convey the torn feelings of Frankie. Paradoxical language serves to magnify the bittersweet nature of Frankie's departure, referring to the words of this final night having a "sad and beautiful sound," though the words have no sad or beautiful meaning. This dual paradox supplements the complex syntax of this excerpt. The complexity of McCullers syntax draws attention to Frankie's inability to fully articulate or discern her feelings and emotions. Additionally, the kitchen in Frankie's home serves as a significant symbol in "The Member of the Wedding," representing familiarity on the surface, but more importantly, Frankie's relationship with Berenice and John Henry.
The Member of the Wedding #8
"Berenice said finally... 'I can see right through them two gray eyes of yours [Frankie's] like they was glass. And what I see is the saddest piece of foolishness I ever knew'" (McCullers, 107).
The above passage provides an example of symbolic imagery. Berenice can easily see through Frankie because of the universality of the struggle with which she is coping. Berenice asserts her knowledge by claiming she can see through Frankie's eyes as if they were glass, and that she sees "the saddest piece of foolishness [she] ever knew." This statement affirms Berenice's (and likely, the reader's) feelings that Frankie's expectations regarding the wedding are overly idealistic and unrealistic. Gray also serves as a motif in this story, representing the dull familiarity Frankie faces. Referring to her eyes as gray affirms the claim that although she may change her name (Frankie > F. Jasmine > Frances), she still remains the same person, whom Berenice knows very well.
The above passage provides an example of symbolic imagery. Berenice can easily see through Frankie because of the universality of the struggle with which she is coping. Berenice asserts her knowledge by claiming she can see through Frankie's eyes as if they were glass, and that she sees "the saddest piece of foolishness [she] ever knew." This statement affirms Berenice's (and likely, the reader's) feelings that Frankie's expectations regarding the wedding are overly idealistic and unrealistic. Gray also serves as a motif in this story, representing the dull familiarity Frankie faces. Referring to her eyes as gray affirms the claim that although she may change her name (Frankie > F. Jasmine > Frances), she still remains the same person, whom Berenice knows very well.
The Member of the Wedding #7
"[Berenice] smoked home-rolled cigarettes, but she carried them in a Chesterfield package, so that from the outward appearance she was smoking store Chesterfields" (McCullers, 99).
McCullers provides the reader with seemingly insignificant background information to further assert the universality of the story's theme of one's ongoing inner-struggle. The composed maturity and surety of Berenice serves to contrast with the wavering maturity and indecisiveness of Frankie, and in this way, the two characters are foil. However, Berenice also serves to magnify Frankie's self-consciousness also. In the above passage, the reader is informed of Berenice's small deception used simply to impress others. This lack of pride is mirrored in Frankie throughout the piece
McCullers provides the reader with seemingly insignificant background information to further assert the universality of the story's theme of one's ongoing inner-struggle. The composed maturity and surety of Berenice serves to contrast with the wavering maturity and indecisiveness of Frankie, and in this way, the two characters are foil. However, Berenice also serves to magnify Frankie's self-consciousness also. In the above passage, the reader is informed of Berenice's small deception used simply to impress others. This lack of pride is mirrored in Frankie throughout the piece
The Member of the Wedding #6
"'Berenice and me are going to the wedding.'
F. Jasmine was taking off her organdie dress, and his words startled her.
'Uncle Charles is dead.'
'I heard that, but--'
'Yes,' said Berenice. 'The poor soul passed on this morning...and John Henry is to stay with us for several days'
Now that she knew the death of Uncle Charles would in a sense affect the wedding, she made room for it in her thoughts" (McCullers, 76).
The above passage manifests two contrasting characteristics of F. Jasmine: selfishness and passion. Prior to this news, F. Jasmine viewed the death of Uncle Charles as wholly insignificant, especially in light of her grand plans regarding the upcoming wedding. Her indifference conveys stark insensitivity and selfish obsession with the wedding. However, this passage also affirms F. Jasmine's passion for the opportunity she believes to be provided by the wedding at Winter Hill. Her enormous preoccupation with the wedding shows devotion to her goals, further characterizing her as a steadfast (though insensitive) adolescent.
F. Jasmine was taking off her organdie dress, and his words startled her.
'Uncle Charles is dead.'
'I heard that, but--'
'Yes,' said Berenice. 'The poor soul passed on this morning...and John Henry is to stay with us for several days'
Now that she knew the death of Uncle Charles would in a sense affect the wedding, she made room for it in her thoughts" (McCullers, 76).
The above passage manifests two contrasting characteristics of F. Jasmine: selfishness and passion. Prior to this news, F. Jasmine viewed the death of Uncle Charles as wholly insignificant, especially in light of her grand plans regarding the upcoming wedding. Her indifference conveys stark insensitivity and selfish obsession with the wedding. However, this passage also affirms F. Jasmine's passion for the opportunity she believes to be provided by the wedding at Winter Hill. Her enormous preoccupation with the wedding shows devotion to her goals, further characterizing her as a steadfast (though insensitive) adolescent.
Friday, April 2, 2010
The Member of the Wedding #5
"Frankie rubbed the wet palms of her hands along the sides of her shorts and said in her mind: Now turn around and take yourself on home. But in spite of this order, she was somehow unable to turn around and go" (McCullers, 43).
McCullers' use of a third person limited narrator gives the reader insight in the mind of Frankie. This tool serves to manifest motives behind the protagonist's action and magnify her thoughts to the reader. Furthermore, it allows the audience to form opinions on the character of additional characters strictly through their interactions with Frankie. This point of view consequently enables the reader to sympathize with Frankie regarding her relationships and affiliated actions. Additionally, the third person limited narrator serves to illuminate the theme of internal conflict superseding external conflict. The Member of the Wedding focuses on the struggles of a self-conscious and confused adolescent, and the point of view serves to assert this theme by providing the reader with Frankie's conflicting thoughts.
McCullers' use of a third person limited narrator gives the reader insight in the mind of Frankie. This tool serves to manifest motives behind the protagonist's action and magnify her thoughts to the reader. Furthermore, it allows the audience to form opinions on the character of additional characters strictly through their interactions with Frankie. This point of view consequently enables the reader to sympathize with Frankie regarding her relationships and affiliated actions. Additionally, the third person limited narrator serves to illuminate the theme of internal conflict superseding external conflict. The Member of the Wedding focuses on the struggles of a self-conscious and confused adolescent, and the point of view serves to assert this theme by providing the reader with Frankie's conflicting thoughts.
The Member of the Wedding #4
"In early autumn of every year the Chattahoochee Exposition came to town. For a whole October week the fair went on down at the fairgrounds . . . Frankie had seen all of the members of the Freak House last October . . . Frankie watched Berenice through the mirror, and finally she asked in a slow voice. 'Do I give you the creeps?'" (McCullers, 20-21).
This quote contains symbolism to correlate with the introductory sentence of the novel (see post #1). The Beginning of The Member of the Wedding states that Frankie was not a member of any club. In the above passage, the "members of the Freak House" are discussed (in much greater length in the novel), and Frankie questions Berenice, asking if she gives Berenice the same feeling that the freaks give to onlookers. This question supplemented by corresponding diction suggests Frankie's lack of confidence. Because she is not a member of any club, she wonders if she should be a member of the Freak House. Because of her insecurities, this passage serves to further characterize Frankie who has otherwise appeared firm and insensitive, especially outwardly. Her thought that she may be equated with the "freaks" suggests that she is extremely self-conscious and does not feel comfortable or well-suited to her current environment.
This quote contains symbolism to correlate with the introductory sentence of the novel (see post #1). The Beginning of The Member of the Wedding states that Frankie was not a member of any club. In the above passage, the "members of the Freak House" are discussed (in much greater length in the novel), and Frankie questions Berenice, asking if she gives Berenice the same feeling that the freaks give to onlookers. This question supplemented by corresponding diction suggests Frankie's lack of confidence. Because she is not a member of any club, she wonders if she should be a member of the Freak House. Because of her insecurities, this passage serves to further characterize Frankie who has otherwise appeared firm and insensitive, especially outwardly. Her thought that she may be equated with the "freaks" suggests that she is extremely self-conscious and does not feel comfortable or well-suited to her current environment.
The Member of the Wedding #3
"So at dark John Henry came to the back door with a little weekend bag. He was dressed in his white recital suit and had put on shoes and socks. There was a dagger buckled to his belt. John Henry had seen snow. Although he was only six years old, he had gone to Birmingham last winter and there he had seen snow. Frankie had never seen snow" (McCullers, 9).
The simple syntax of this excerpt serves to mirror the simplicity of John Henry, conflicting with the complexity and vagueness of Frankie's thoughts and desires. John Henry is Frankie's six-year-old cousin, and McCullers' characterization of him presents John Henry as a passive and innocent youth. In this way, John Henry serves as a foil character to Frankie, who is an assertive and somewhat deceitful adolescent. However, thus far, John Henry also seems to be a potentially flat character, with an unchanging and dry personality. This assertion can be supported by the simplicity of McCullers' syntax when referring to John Henry. However, the true role of John Henry's simple character will likely be revealed later in the story.
The simple syntax of this excerpt serves to mirror the simplicity of John Henry, conflicting with the complexity and vagueness of Frankie's thoughts and desires. John Henry is Frankie's six-year-old cousin, and McCullers' characterization of him presents John Henry as a passive and innocent youth. In this way, John Henry serves as a foil character to Frankie, who is an assertive and somewhat deceitful adolescent. However, thus far, John Henry also seems to be a potentially flat character, with an unchanging and dry personality. This assertion can be supported by the simplicity of McCullers' syntax when referring to John Henry. However, the true role of John Henry's simple character will likely be revealed later in the story.
The Member of the Wedding #2
"Her right eye was dark and sad" (McCullers, 5).
This quote exhibits McCullers use of personification. The excerpt describes the one remaining real eye of the protagonists Frankie's maid, Berenice. The description of Berenice's eye as sad strategically attributes human emotions to it. Serving to magnify the actual sentiments of Berenice, this tool mirrors the maids own sadness regarding certain aspects of her life. Furthermore, the "dark and sad eye" serves to foreshadow the emotions affiliated with the recounting of the story regarding Berenice's left, glass eye, and how this ailment occurred. Although on the surface Berenice does not appear to be an unhappy or cynical individual, this personification serves to illuminate the darkness she has overcome and with which she may still struggle.
This quote exhibits McCullers use of personification. The excerpt describes the one remaining real eye of the protagonists Frankie's maid, Berenice. The description of Berenice's eye as sad strategically attributes human emotions to it. Serving to magnify the actual sentiments of Berenice, this tool mirrors the maids own sadness regarding certain aspects of her life. Furthermore, the "dark and sad eye" serves to foreshadow the emotions affiliated with the recounting of the story regarding Berenice's left, glass eye, and how this ailment occurred. Although on the surface Berenice does not appear to be an unhappy or cynical individual, this personification serves to illuminate the darkness she has overcome and with which she may still struggle.
The Member of the Wedding #1
"It happened that green and crazy summer when Frankie was twelve years old. This was the summer when for a long time she had not been a member" (McCullers, 3).
In the above introductory sentences, McCuller employs ambiguity to catch the reader's attention and instill moderate suspense or curiosity. The first sentence states that something happened, though it fails to clarify, and this ambiguity is not remedied until significantly later in the book. The second sentence claims that Frankie "had not been a member" during the aforementioned summer. This vague fact is only slightly explained by the following sentence that states "she belonged to no club and was a member of nothing in the world." This additional utilization of ambiguity serves to characterize Frankie. Some may interpret her to be consequently independent, lonely, or unsocial. Regardless of interpretation, the vagueness of McCullers language undeniably creates curiosity and awareness of Frankie's failure to be "a member" of any club.
Subscribe to:
Comments (Atom)