The husband went on reading, lying propped up with the two pillows at the foot of the bed. "Don't get wet," he said. The husband does not have any real interest in the cat, which is evident from how he handled it, not moving from the bead and seemingly not caring what the wife did as well, by saying “Don't get wet” as it is sort of a generic response. The wife procceds to walk down the steps and looks outside for the cat, but to no avail. She states "Oh.
It is very bad weather.” He then sends the maid outside with an umbrella to protect the wife from getting wet. The hotel-keeper represents the way that she wisher her husband could be. She says she “…liked his dignity. She liked the way he wanted to server her.” It is clear to the reader that her husband did not want to serve her because when he offers to go outside and get the cat he makes no real effort to get up and stop reading his book, he was doing just to ask but with no real intention of doing it for his wife. Through the hotel-keeper Hemingway shows the reader what the wife is lacking from her husband and how the grass is always greener on the other side.
This leaves the wife feeling empty and lonely, her desire to take care of something, anything is overwhelming. Their marriage is obviously in crisis, and that crisis in my opinion is the lack of fertility, “which is symbolically foreshadowed by the public garden (fertility) dominated by the war monument (death).” [Hagopian, 221] From her window she sees a cat who “was trying to make herself so compact she would not be dripped on”; the American wife immediately says “I’m going down to get the kitty.” Her word choice in even describing the cat as “kitty” is very telling, it’s like she has already assigned affection to a foreign object. To me that says that she is so filled with love and affection but with no where to direct it. The American Wife walks downstairs, passes the innkeeper with whom she reveres in almost a fatherly way, and makes it out to the square where she had seen the cat; the cat is gone. It is interesting to note that once she realizes the cat is not there, Hemingway no longer describes her as the American Wife but as the ‘American girl’, “it is almost as if she were demoted in femininity by failing to find a creature to care for.” [Hagopian, 221] The American Wife/girl, is very vocal with her wants, she says she wants to grow her hair long and wear it in a bun, she wants to have a cat
Hills Like White Elephants A Feminist Perspective By Liane Dinapoli COMP & LIT 2 Ernest Hemingway's short story "Hills Like White Elephants" is set in Spain sometime in the early 1900’s. The story revolves around social issues for men and women at the time. Even though they do not openly discuss it, Hemmingway gives the impression of a couple arguing over what to do about a pregnancy. Their problems, which are never openly acknowledged by Hemmingway, only imply that they are talking about abortion. Because of society’s opinions during this time, the right of women to make such decisions had to conform to what society viewed as a whole.
The poet uses language and technical devices to convey dominance in the poem ‘The cats song’ The cat’s song by Marge Piercy is a poem, which focuses on the relationship between a cat, and it’s owner. The author writes this poem through the perspective of a cat and portrays what cats may be thinking of their owners. Although this may sound contradictory, the poet expresses the dominance of the cat over it’s owner by using language and technical devices. The poems opening sentence already starts to show a sense of dominance through the repetition of ‘My’ and ‘I will’, this portrays a sense of ownership by the cat as he is claiming the owner as his. Another way the cat shows dominance over the owner is through the use of ‘greed’ and ‘fear’ in line 19, this contrasts showing a dominant and submissive side, the cat show’s a submissive side to maintain it’s relationship with the owner but initially still knows he is the more dominant one.
So she ultimately makes the choice to ride out the horrible pain her pregnancy was giving her, not really believing the depth of the conspiracy, until the choice is actually made for her. By the time she tries to fight the cult, she is
For some reason though, we don't quite believe her. The rest of the story shows the grandmother doing more of the same. We learn that Bailey doesn't want her to bring the cat. Instead of causing a ruckus (Bailey's the type who would make a big stink), the grandmother just hides the cat in a basket and secretly brings it along. The grandmother decides she wants to go see the old plantation, but knows Bailey won't
Furthermore, war monument in the rain, the sea breaking in the regular waves, the gone motor-cars and no one at the square let us understand a crisis, loneliness here. Partly we guess an abnormality was happening in the vacation of the couple or in their relationship. Following the next paragraphs, the readers understand more about two Americans- a wife and a husband. We can realize that the cat is a topic to be spoken about during their conservation although they were a couple on vacation. The simplicity the wife wanted to do was to protect a cat from the raindrops when she saw it trying to make itself compact.
She too is a cat lover and had grown up with cats. My mother named the cat KC, which was short for kitty cat. She would dress the cat in a bonnet and push it up and down the street in a baby stroller. She would fight with her brother at night for the cat to sleep in her room and not his. The cat truly had a special bond with my mother.
Satire Carroll does not mean this tale to be serious. For one thing, an imaginative child who talks to cats is the protagonist, and it is she who leads the reader through the book. Additionally, there is no sense of consistency in the book; as soon as a rule for the looking-glass world is introduced, it is either abandoned or changed. Further, Carroll appears to be poking fun at adult intellectualism. All the characters who attempt logical debate either argue themselves into confusion or lose to a seven-year-old Alice.