The setting impacted the character in the story because the woman was in that lonely room the whole time and the woman just felt more insane. A very important quote said by Charlotte Perkins is “There are things in that paper which nobody knows but me, or ever will. Behind that outside pattern the dim shapes get clearer every
Imagery is one of the most potent instruments which a poet can use to awaken the feelings of a reader. Compare the nature and effects of images in three or four poems that you have studied. Sylvia Plath’s ‘Spinster’, Carol Ann Duffy’s ‘Havisham’ along with ‘Ms. Midas’ are all poems which present the reader with strong, prominent female characters, and their perished relationships. Both poets use both color as well as natural imagery in order to depict the emotions of these women throughout the length of the poems.
His good looks forced her to say “I’m sick of shadows” and break the curse by leaving the tower, which results to her tearful death. ‘The Lady of Shalott’ includes many magical and mysterious things, like; the curse, The Lady of Shalott herself and the fact the weather reflects the feelings of the lady of Shalott. This makes the poem super natural and it also leads onto the next question, which is the HOW part of the title- HOW did Tennyson make the atmosphere mysterious and magical? (Using the magical and mysterious things) Tennyson used some extraordinary techniques to create the poems atmosphere, the mood of the poem and vivid imagery. Such as: - Pathetic fallary and personification.
The Lady is imprisoned in a tower with "four gray walls and four gray towers" which immediately sets up the image of a prison-like atmosphere. Moreover, the word "gray" emphasises her tedious mundane routine. The "four gray towers" seem to "overlook a space of flowers" which accentuates the lifeless setting of the Lady as the flowers are not described by a colour but are 'overlooked' on by "four gray towers" as if they are held prisoner. The inflexible and dull colour reinforces the repetitive life of the Lady in comparison to Sir Lancelot who has light gleaming in each stanza of his description. Immediately, as Sir Lancelot appears "the sun came dazzling thro' the leaves" and suggests that the setting brightens as Sir Lancelot in introduced in the poem.
The poetic techniques employed by Harwood effectively communicate distinctive aspects of her themes while allowing them to remain universal. Harwood captures ubiquitous tensions through her use of contrasting imagery and makes them familiar with vivid detail and a dramatic use of dialogue. It is Harwood’s unique ability to combine the philosophical and the emotive which allows for the continuity of her poetry. In “Triste, Triste”, Harwood explores the tensions between the creative spirit and the limitations of the earthly. The concept of the artists’ imagination as a separate entity, able to transcend the physical is a rather Romantic one.
Fear is created by Bronte in chapter two as the room is remote in comparison to the rest of the house, and once inside, Jane is isolated from the rest of its inhabitants. She “resisted all the way” which shows us that Jane is scared of going into the bedroom; as she has previously stood up to her cousin, who we know hurts her physically, the fact that an otherwise brave girl is scared of and trying to avoid going into a room makes us think that it is something to be feared. Bronte also created fear in the chapter through the words of Miss Abbot, who says “something bad might be permitted to come down the chimney and fetch you away” telling a child this is bound to scare them and created fear in the child and in the audience. The mystery in which the room is presented also makes it seem frightening, it is not mentioned to have a purpose, and is only mentioned by a colour, “the red room”. Whilst red is the colour of passion and lust it is also the colour of a more sinister thing; blood.
Religious imagery and allusion, such as “sun’s disciples”, “bless” and “holy commonplace” constructs reverent and sanctified thoughts within the reader’s mind which sets them at ease. Throughout the poem the syntax changes abruptly from flowing to sharp with harsh constant sounds such as “claw” and “thicket”. The change of tone has the utmost impact and builds tension as it juxtaposition directly replaces the mood of serenity with one of distress and fear. When the child awakes in fright the reader feels pity which
The poem justifies its centrality through a use of dazzling imagery, vivid emotional resonance, historical and biblical allusions, and a breathtaking sense of movement. Critics tend to discuss the poem as explorations of several different subjects, including: poetic creativity; sexuality; Judaism; animism; suicide and death; c. * To begin with, the name Ariel refers to three different things: Sylvia Plath's own horse, which she loved to ride; the androgynous sprite from Shakespeare's play The Tempest; and Jerusalem, which was also called Ariel in the Old Testament. Critics who discuss Shakespeare's Ariel tend to read Plath's poem as an exploration of poetic creativity and process. Shakespeare's Ariel embodies this power, and Plath may be
The fear associated with the words “quiver” and “shiver” suggest they are foreshadowing what danger lies ahead with the lady of shallot. We also see her living arrangements described as “Four grey walls, and four grey towers” this makes it seem as though it is a prison and makes the reader feel she is imprisoned in her own
The wallpaper in the woman’s room represents imprisonment and this is strongly shown when she says, “The faint figure behind seemed to shake the pattern, just as if she wanted to get out” (Gilman). The imprisonment image is created because she repeatedly asks to remove the wallpaper but isn’t allowed and she is evidently trapped in the room, just as the figure in the pattern seems to be trapped in the wall. Gilman also shows how obsessive she has become with the wallpaper and why she is so obsessed when she describes the wallpaper, “At night in any kind of light, in twilight, candlelight, lamplight, and worst of all by moonlight, it becomes bars! The outside pattern I mean, and the woman behind it is as plain as can be”. The woman in the pattern that she refers to is actually her.