A White Heron; Realism and Naturalism at Their Best

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A White Heron; Realism and Naturalism at Their Best Sarah Orne Jewett does an excellent job of bringing the pages of her story to life. Her depiction of life on a farm in Maine brought me back to my childhood growing up on a farm in Indiana. Because of the great way she describes how life really was back then and the way she uses the exact words people spoke, this story belongs in a class such as ours. In Sarah Orne Jewett’s A White Heron, the main character Sylvia is a young girl who seeks refuge in the desolate wilderness of Maine. Afraid of people, and brought to the wilderness by her grandmother, she escapes the crowded manufacturing town she had lived in the previous eight years of her life. Everyone notices an improvement in her well-being but “as for Sylvia herself, it seemed as if she never had been alive at all before she came to live at the farm” (Jewett 1588). Sylvia had been unable to embrace society or make friends with her peers, and she still remembers with fear a boy, “the great red-faced boy who used to chase and frighten her” (Jewett 1589), from the crowded town in which she used to live. She befriends animals; not humans, and it is therefore when she initially hears a whistle on her walk home she sees it “not a bird’s whistle which would have a sort of friendliness, but a boy’s whistle, determined, and somewhat aggressive” (Jewett 1589). This whistle represents Sylvia’s fear of people in general, and the man who made it represents a part of the crowded town she had left as a child of eight. This stranger clearly does not belong on the farm, or in the near vicinity, and views it as dwellings of a lower society which surprises him in its ability to provide comfort. The young man, a hunter trying to gather birds for his collection, views Sylvia as a means to get a white heron he desires after her grandmother reveals

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