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Analyzing The Theme Of Aspect In Literary Devices English Literature Essay

The theme of mother nature is very important to each one of the texts to be reviewed in this essay: The Fat Black Woman's Poems by Grace Nichols; Fatality of the Salesman by Arthur Miller and Wide Sargasso Sea by Jean Rhys. In a way, the fact that every work is established inside a different literary genre somewhat dictates the essential differences among them. However, this essay sets out to take a look at how, in addition to contrasting literary devices, aspect is utilized as a new imperative in each of the selected text messages.

Throughout the play, Willy escapes back to his memories and it is deeply significant, therefore, that the countryside is allied to the: 'I was driving along, you understand? And I was fine. I got even observing the scenery. You can imagine, me taking a look at scenery, on the highway every week of my entire life. But it's so beautiful up there, Linda, the trees and shrubs are so dense, and the sun is warm' Loman both belongs in the country and out of it because he has simply used it, as he has used both things and people, to get ahead. The actual fact that he has been unsuccessful is therefore a betrayal of his own and a universal wish that is never fulfilled nor justified, equally the storyplot he begins to share Linda, his wife, ends not in reverie on the idyllic, as it started, but on lack of control: 'all of a sudden I am going off the street!' Miller uses nature, therefore, as an emblem of Willy's displacement: 'Many of Willy's activities is seen as highly symbolic. He plant life seeds equally he plants fake hopes: both will die and never come to fruition, basically because the house has become too hemmed in by the city. ' Furthermore, a further lost dream of Willy's has been connected with dynamics, that of his brother, Ben's, offer to become listed on him and make his bundle of money beyond the suburban life Willy has resided: 'William, once i walked into the jungle, I had been seventeen. AS I walked out I got twenty-one. And, by God, I was abundant!' For Willy, therefore, aspect has turned into a host to lost trust where 'the grass don't grow any more' ; it does not belong and nor does he: 'A victim of both a heartless capitalist modern culture and his own misguided dreams, Willy's eventual suicide is offered tragic dimensions. His beliefs may be misguided, but he stays on true to those to the finish. Although he has neither social nor intellectual stature, Willy has dignity, and he aims to keep this as his life comes apart around him. '

Displacement is also a significant feature of Jean Rhys's book, Wide Sargasso Sea. First released in 1966, this can be a prequel to Charlotte Bronte's Jane Eyre, first published in 1847. The book uses nature as a way of producing the narrative of Rochester's first better half, Bertha Mason, here known as Antoinette Cosway, a young woman who seems herself displaced following the freeing of the slaves who got done her family's plantation. 'The very word "place" occurs many times in the book' and Antoinette looks for solace in what she views as an Eden garden, her former home, that she is cast out: 'A very important early on set part is Antoinette's information of the garden at Coulibri, where she was a child, a garden which was probably based on Rhys's memories of her mother's family house at Geneva. It represents childhood as taking place in a ruined Eden. ' The description of the garden is thus very important to a knowledge of Antoinette and of the way Rhys uses her reference to nature to aid her persona and thematic development:

Our garden was large and beautiful as that garden in the Bible - the tree of life grew there. But it had gone wild. The pathways were overgrown and a smell of useless flowers blended with the fresh living smell. Within the tree ferns, high as forest tree ferns, the light was renewable. Orchids flourished out of reach or for reasons uknown not to be handled. One was snaky looking, another like an octopus with long thin brown tentacles bare of leaves suspending from a twisted root. Twice per annum the octopus orchid flowered - then no inches of tentacle showed. It was a bell-shaped mass of white, mauve, deep purples, wonderful to see. The scent was very sugary and strong. I never proceeded to go near it.

The possessive pronoun with which this paragraph starts immediately establishes the dichotomy of Antoinette's situation. This is her home, it should feel just like hers but it generally does not. The 'beauty' she infers has a duplicitous lushness since it has 'gone wild', emblematic of the land which includes lost control, albeit for a confident reason. The 'living' and the 'useless' combination and encroach after each other, and there is a serpent in your garden in the 'snaky' orchids. Moreover, the 'twisted main' suggests a distortion of what was meant to be, metaphorically echoing Antoinette's displacement. Furthermore, this is not the only exemplory case of places showing up resonant of disposition and/or situation: 'Places are extremely alive in this novel: the menacing, lush garden at Coulibri, the inexplicable bathing pool at Coulibri, sunset by the huts of the plantation workers, the road from the village of Massacre up to Granbois, the ocean and sky at sunset from the ajoupa or thatched shelter at Granbois, the bathing private pools at Granbois (the champagne pool and the nutmeg pool) the forest where Antoinette's husband wanders until he is lost, the street to Christophine's home, the trees and shrubs and bamboos throughout the house at Granbois. ' Here, Antoinette shows up together intoxicated and repelled by the 'sweet and strong' of your garden, which perhaps says something about her likewise ambivalent frame of mind towards those around her plus they to her: 'The picture we've of Rhys and her heroines is that of a passive, impotent, self-victimized schizoid who, more comfortable with failing, wields her helplessness such as a tool -- all as natural as being female. ' The display of characteristics at the 'honeymoon house' is in the same way difficult to put, seeming to be one thing but actually being another, but her past home is 'a sacred space where Antoinette hugs to herself the secret hidden in Coulibri'. It is, indeed, these secrets in isolation, echoed in the descriptions of Antoinette's homeland that make the representation of nature in Wide Sargasso Sea so clearly an essential of the text:

As long as Antoinette can remember and order the incidents of her stories into a temporal or causal series, create even an illusion of series and maintain a measured sense of space and time, then she can take her life and personal together. Her action of narration becomes an function of affirmation and cohesion, a nod to the earth and its own conventions, an attempt to avoid herself from dissolving. When, partly Three, Antoinette lies encaged in Thornfield Hall's dark, wintry attic, the threads that maintain her to the reality that the planet perceives as sanity finally break. These threads are the elements of classic narrative: linear chronology, sequence, narratorial lucidity, distance. She herself admits at this point that 'time has no meaning'; series disintegrates into a misunderstandings of present and previous and in the end into a goal which narrates her future.

This has been quoted at span since it addresses many of the literary devices that the novelist, instead of the playwright or poet, may use to develop a theme. With regard to aspect, it is employed by Rhys, as advised above, to create a temporal space for Antoinette that is emblematic of the identification she's lost. The wildness which is encroaching upon the Eden of the garden, later to be completely ruined, can be an example of the way in which the novelist may use one strong image to lead into another, both being resonant of days gone by. Indeed, again as explained above, the work of revealing the tale creates the type in your brain of the reader and the locations where she is located are connected to that, as is the temporal dislocation which recollection produces and which is often, much like Antoinette, indicative of her mind-set. The evocation of character as a turbulent and emotive occurrence adds to this, with the ocean as the ultimate semiotic of task, chaos and dislocation.

Grace Nichols' second assortment of verse, The Fat Black Woman's Poems, published in 1984, also uses nature to evoke a particular image. However, as this is poetry, the linguistic and literary devices used are very not the same as either those of the playwright and/or novelist. 'Nichols grew up in Guyana' but has made her life and profession in Britain, 'she has resided and proved helpful in Britain since 1977', and this cross-cultural imperative is very much evident in her work: 'her poems frequently recognize the alien local climate, geography, and culture of England's towns' IN THE Fat African american Woman's Poems, Nichols seeks to evoke another type of conception of beauty from whatever is shown in white Traditional western culture: 'Nichols also deploys system. drawing. bitmap black woman as a powerful challenge to the tyranny of Western notions of female beauty' and therefore 'engender a new heroine, a woman who revises the aesthetic of female beauty. ' Among the techniques Nichols employs to get this done is combining mother nature with an element of the physical do it yourself, as within 'Thoughts drifting through the fat black woman's head whilst having a complete bubble bath':

Steatopygous sky

Steatopygous sea

Steatopygous waves

Steatopygous me

The unfamiliar word, 'steatopygous' (so this means having fully curved buttocks) is repeated for emphasis and juxtaposed with images of mother nature to be able to produce an emblem of the dark woman as close to nature, her body designed like the sky, waves and sea. Nichols is empowering dark ladies in image by doing this as she does indeed giving the black woman her own unique voice: 'In making the fat black woman the speaking subject of several of the poems, Nichols signals her refusal to occupy the subject(ed) position designated for the black woman by history also to insist on more technical subjectivities. ' Nichols is also worried that the words should seem naturalistic and therefore the natural images perform just one more function: 'Like many Afro-Caribbean freelance writers, Nichols infuses her poetry with the religious energy of the tradition of women before her, a traditions that has little written record. '

In another poem from the collection, 'Beauty', this duplication of a different image of physical appeal can be seen to be connected with characteristics:


is a unwanted fat black woman

walking the fields

pressing a breezed


to her cheek

while sunlight signals up her feet


is a extra fat black woman

riding the waves

drifting in happy oblivion

while the sea turns back

to hug her condition

Again, the girl is juxtaposed with character, providing a unity between the persona and her area which is both literal and metaphorical. Repetition can be used once again by the poet to emphasise the connection between your theme of the collection and beauty in abstract. Indeed, the word 'Beauty', the only capitalised expression in the poem, is set alone on the collection, as is 'hibiscus', as if to stress its importance as an emblem or iconic of what Nichols says can be an imperative i. e. that this is exactly what beauty unequivocally is. There's a mutual embrace between your woman and characteristics, she 'pressing' the 'hibiscus/to her cheek' and 'the sea flip[ing] back/to hug her form'. It is as if Nichols is recommending that the 'fats black girl' who's 'operating the waves/drifting in happy oblivion' is together with characteristics and recognised by it to be so. Most of aspect, indeed, like 'the sunshine [that] lighting up her ft' is glorifying her and she it. There is absolutely no punctuation in the verses, emphasising the easy, natural movement of the explanations and the way in which they are designed to imply all of that is inherently natural. As Nichols creates in 'The Assertion', 'This is my birthright' and thus the analysis of beauty within the poems becomes a socio-political imperative, too.

In finish, all three texts - Miller's Death of the Salesman, Rhys's Wide Sargasso Sea and Nichols' The Fat Black Woman's Poems - all use nature as a way of enlarging after and more effectively demonstrating their central concerns. A significant element of this is how pathetic fallacy can be used by the writers, i. e. aspect reflecting and/or suggesting a feelings or theme. As the three texts talked about here are from different styles, they of course use mother nature in different ways, using different literary devices, as has been proven. However, for each of the writers characteristics is singularly important and enriches the individual texts immeasurably. In the ultimate analysis, therefore, it might be recommended, indeed, that aspect itself becomes almost a communicative identity within each one of the very different works discussed within this essay, as its importance to the creation and communication of each cannot be overestimated.

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