Posted at 11.29.2018
In writing, it seems as though a writer's every word is computed, each phrase a carefully built masterpiece of design intended to invoke a thought, idea, or message in a reader's malleable psyche. In essence, this is indeed the purpose of writing: to mention to others one's own ideas through written words. When seen this way, a audience is required to read differently than he or she would otherwise. If the reader takes on the task of searching for a few deeper, more superior meaning within a tale beyond that which appears on the site, each phrase becomes a golden nugget nestled in the silver mine of the paragraph all together, the reader a miner meticulously working his or her way through the paragraphs searching for the mom lode. With each reading the wall space of the story recede, revealing ever more of the intricacies and complexities infused into the account by the copy writer. Edith Wharton's "Roman Fever" is filled with delicately located words, carefully designed structures, and pieces of the puzzle quickly hidden from viewers, and yet for reasons unknown they have received very little critical attention in the seventy-five years since its release in 1934 (Bauer 681). Those who have converted their attention toward it, however, seem to be to have focused generally on the role Mrs. Ansley's knitting plays in the storyplot. In Wharton's "Roman Fever, " the author's reference to Mrs. Ansley's "twist of crimson silk" is determined, as the knitting functions to highlight and symbolize the partnership between Mrs. Slade and Mrs. Ansley as well as to foreshadow the people' remarkable revelations later in the story (Wharton 1 of 12).
Color is central to the individual understanding of the surrounding world. People associate colors with feelings, places, people, and occurrences in their lives, and each color harbors another meaning for every individual. Thus, the colour employed by the narrator to spell it out Mrs. Ansley's knitting is essential to one's interpretation of the storyplot. The narrator explains it as "a twist of crimson silk, " and in these five words there is no lack of meaning (Wharton 1 of 12). For instance, the knitting is said to be "crimson" (Wharton 1 of 12). Alice Petry points out it as "an insistently keen color" in her article entitled "A Twist of Crimson Silk: Edith Wharton's 'Roman Fever'" (164). In the article, Petry details the many meanings of the knitting, highlighting also the significance of the knitting within the storyline. Petry's characterization of the color is not singular to her interpretation of the story: red and its various shades are widely regarded as colors of love and of enthusiasm. This keen color choice acts to foreshadow the approaching revelation of the personas as they recognize that neither of them knows the whole fact about Mrs. Ansley's tryst with Delphin Slade. A lot of the critical attention given to the storyline has devoted to Mrs. Ansley's knitting, and so it is not unusual that critics have emphasized its color. Jamil characterizes the crimson hue of the knitting this way: "If dark signifies the gloom of guilt, then crimson signifies the heat of sexuality and risqu youthfulness of romantic enthusiasm" (99). The "black" to which Jamil pertains is really the dark-colored color of the purse Mrs. Ansley is holding, as the storyline says, "One half guiltily she drew from her handsomely attached black ladies handbag a twist of crimson silk" (Jamil 99; Wharton 1 of 12). This impressive comparison between the two colors emphasizes the foreshadowing result created by the crimson color of the knitting.
In quite similar way that the individual consciousness is seriously inspired by color, so also does the material that something is built play a huge part in how one perceives an object or a meeting. Different substances hold with them various connotations and denotations that must definitely be taken into account when interpreting a story. Thus, just like color is important, the narrator's mention of the sort of material found in Mrs. Ansley's knitting is key as well. Based on the narrator, the knitting being done by Mrs. Ansley is not manufactured from yarn but of silk (Wharton 1 of 12). This apparently minor detail is actually very significant, and it too foreshadows the characters' coming disclosure of what really took place between Mrs. Ansley and Delphin Slade. Silk is often viewed as a very slinky, seductive material, therefore this minor depth foreshadows the climactic revealing of days gone by that is to come. It suggests some kind of covert romantic come across on the part of Mrs. Ansley and it could even be seen as contextually symbolic. Jamil puts it this way: "the work of offering the yarn, which is exquisitely fragile ('silk'), is the action of getting the sensitive thread out of the past into the present or taking the present in to the past" (99). Jamil is not the only person to suggest some sort of connection between your silk and the story's plot, however. Petry also weighs in about them, stating, "The sensuality and forcefulness suggested by [Mrs. Ansley's] knitting materials will help to provide plausible her passionate moonlight tryst with Delphin Slade twenty-five years previously" (164). Both Jamil and Petry seem to be convinced that the narrator's reference to the silk is not only aesthetic; alternatively, both appear to believe it is premeditated and deliberate, as it functions among the story's most effective realtors of foreshadowing.
Mrs. Ansley's knitting will not solely serve to foreshadow the story's climax. Instead, it will serve also as a contextual symbol of the relationship shared by Mrs. Ansley and Mrs. Slade. Due to the narrator's explanations of the knitting, it can be said that the knitting implies a good deal about the partnership between the two women by its very structure. To knit is, by classification, "to makeby looping alongside one another yarn or thread through special fine needles" ("Knit" def. 1). Because knitting will not normally relate to interactions beyond the context of this tale, the utilization of knitting here acts as a contextual image for the relationship between your women. Curiously, this aspect of Mrs. Ansley's knitting has received little critical attention. This will not, however, detract from its magnitude. Knitting is essentially a system of interwoven strands that seem to be to be completely connected and totally intertwined; the article "'I Had Barbara': Women's Ties and Wharton's 'Roman Fever'" identifies the lives of the ladies in much the same way in the next few phrases: "[Mrs. Slade and Mrs. Ansley] move as you, they lean as one, and their appearance is the 'same' one. 'Mrs. Slade and Mrs. Ansley had lived opposite one another - actually as well as figuratively - for years': a cohabitation, figuratively if not actually alongside their relationships" (Bowlby 45). In these few sentences Bowlby outlines precisely how close both women are really. Much like the threads of a piece of knitting, both women cannot get much nearer along. The lives of Mrs. Ansley and Mrs. Slade are completely interwoven, and therefore it can be said that the knitting serves as a contextual symbol of the partnership between them. Having said that, however, even the best knitting will get started to damage itself with even the littlest snip of a pair of scissors. Viewed from this perspective, Mrs. Ansley and Mrs. Slade signify the strands of silk, the partnership between them is the knitting as a whole, and Mrs. Ansley's encounter with Delphin Slade and its own emergence later in the storyplot act as the scissors that may cause the partnership to fall apart. The one-night rendezvous between Mrs. Ansley and Delphin Slade has such far-reaching, severe effects which it eventually unravels the structure of the partnership shared by the two women, which experienced heretofore been "close" (Wharton 3 of 12).
Edith Wharton's "Roman Fever" is, matching to Petry, "Probably Edith Wharton's best-known short report" (163). It is bursting with icons, foreshadowing, storyline twists, and vivid descriptions. What places it aside from other reports, however, is the importance it places on the easy, seemingly innocuous action of knitting. Mrs. Ansley's knitting plays a central role in the storyline, as it foreshadows the story's climax and symbolizes the relationship between Mrs. Ansley and Mrs. Slade. The amount of times it appears lends credence to the idea that Wharton designed for the reader to put a heavy emphasis on the knitting, and the location and timing of its appearance is too uncanny and all too often to be coincidental. Thus, it could be deduced that the narrator's reference to Mrs. Ansley's "twist of crimson silk" is indeed calculated and is intended to invoke a deeper so this means to the storyline than would be found usually (Wharton 1 of 12). Because of this, it cannot be ignored among the chief areas of the story, and when included in one's interpretation of the story it subsequently makes the story more sensible, more important, and more enjoyable.