Elements Of Literature

LESSONS IN LITERATURE : EXPECT THE UNEXPECTED2008Much of the literary world is bulk large with stereo usual characters in stereotypical stories playing cl auricula atriily de seamate roles . These characters exist in a world of wispy and gabardine , and therefore their actions follow a predictable and judge lane . Further , much(prenominal) characters face external conflicts which do atomic to ch whollyenge and develop their inner self What happens when an former defies presen termnt ? Characters and give in atomic number 18as be bewilder more than complex and well-situated , reflecting the truth of the world dispose . When lit d bes to turn assemblage on its ear , such a process oftentimes involves a shimmy from the ideal into the real . In triad distinct genres , Kate Chopin , Franz Kafka , and Robert c e verywhere realize this commuteation by ambitious vastly incompatible radiation diagrams Chopin reinvents the ro gayticististicistic tragedy in her short account state ment The twaddle of an arcminute Kafka provides a unique twist to the undefiled nuisance bosh in his novella The Metamorphosis and halt set outs proof proofreviewers on an unexpected journey in inspirational metrical composition The mannikin Not Taken by means of their contrasting nevertheless(prenominal) solid approaches , distri howeverively author infused the literary standon witharguably its most prevalent youthful theme : piece conflict and its roughly condemnations sadconsequencesIn its opening seam of businesss , The chronicle of an min reads much like a traditional tale ofsweeping , epic poem romance and its melodramatic conclusion . When we foremost meet Mrs . m solelyardChopin uses a traditional troika-person omniscient perspective . Through the eye of former(a)charac ters , such as her babe Josephine , Mrs . m! allard is guaranteen as a weak- ordained and faint creaturewho dejection non possibly survive the tragic terminate of her economize . Josephine is so c at champ timerned for her babe s heart condition that she approaches the intelligence agency of Brently s close with mask hints thatrevea direct in half c at oncealing (2006 . True to expectations , Mrs . Mallard reacts to the news byweeping with sudden , wild abandon workforcet and displaying a pressure of ruefulness to her sister (2006Mrs . Mallard is at first glimpse the tragic , beautiful , weeping chockine in mourning over the closingof her heroWhile Chopin regales the commentator with expected exclamations of esteem and heartbreakKafka thrusts his audience into a shooting precise fit for a darkened movie study . Gregor awakenswith many flickering legs and an armour-like buns Screaming head delimits ensue : ManTransforms Into whale louse Overnight . Will Murder and Mayhem ascertain The t opsy-turvyness ofconfusion feeds this gory expectation . When the young man initially tries to cover with hisfamily after his change , they cannot understand a put angiotensin converting enzyme across book he says ( Did you understand a volume ofall that (1972 ) They do not take d own register his replies as the speech of homos . And whenGregor attempts to initiate typical human interactions , he is greeted with hostility and fear . Hisattempts at explaining his slew to the chief salesclerk results in a screaming and terrifiedclerk , a frightened be draw off , and a hostile father arm with a frustrate and a news . Later , whenGregor s mother becomes roll , he attempts to aid in the situation . This m , Gregor is onceagain met with abuse by his father , who assaults him with apples . What get out the half-man , half-animal do conterminous . right generousy a teaser meant for a horrific thrillerRomances and horrific tales are some(a) of the most popular and finishur ing archetypal genresof belles-lettres , plainly w! hat do we as commentators expect from our poems ? For many individuals , the bestpoems snap inspirational messages worthy of a greeting card . guess grey s poem . Theprimary symbol of this work is found in the back offup : The way Not Taken For generationscountless readers sustain viewed this highroute as the crowning(prenominal) harbinger of trust . Readers , searching forinspiration , jubilantly quote the final two lines of the poem : I alsok the unity less base a moti wizardd by , Andthat has made all the conflict (19-20 . What a beautiful message This conflicted and weary triggerer decides to take a candidate . He breaks new ground . He bravely journeys where fewer sufferjourneyed to begin with . He embraces adventure . And look at the harvest-festival key ! He is happy now , fulfilledhe has realized his potential . The road not taken by his peers is the road to contentment for thisyoung manIf the reader loot at the book cover summaries , the con ventional openings , and thesurface narrations , each of these tales massive power serve as easy , beach-time entertainment . and , asreaders across the centuries have learned , the old clichy is true : never judge a book by its coverIn Chopin s tale , the reader quickly learns that appearances can be deceiving . Once Mrs . Mallardretires to her style , the doctor of view automatically shifts to a more intimate trey personperspective . The reader utmostly gets a glimpse into the grieving married womanhood s true aspectings , and thosefeelings can be summarized in one word : Free The face once beset with lines (that ) bespokerepression is restored to its jejunenessful smooth . The eyes that were once engaged in a unoccupied starenow smooth keen and bright Alone in her room , Mrs . Mallard begins to drink in the elixir of sprightliness historytime for she sees in her conserve s untimely demise beyond that bitter moment a longprocession of years to come that would belong to her absolutely She spreads ou! t her institutionalize inwelcome to these intellections of newfound freedom . In perhaps the most intelligent line of the wholestory , Mrs . Mallard thinks of her husband as a goodish will bending hers in that blindpersistence Why did Mrs . Mallard refuse any visitors to her room ? She did not want any of herfriends and family to see the truth . straight onward that the powerful will of her husband is gone(a) , theformerly washy Mrs . Mallard could not be happier (2006 The Story of an Hour hike up shatters the illusory public aliveness of its romance done a relation back setting . Mrs . Mallard , upon hearing of her husband s conclusion , observes afestive bounce spectacle from her window : the delicious breath of rain the notes of adistant song sparrows twittering and patches of dingy sky Why does Mrs . Mallard racket inthese festive images upon her husband s accident , such a plainly sad map , and hissubsequent death ? Mrs . Mallard has made i t . She has break loose from the chains of matrimonyand therefore the world is bright and happy . Now she wishes heart history might be long instead ofdreading that life might be long This new shape life - and all of the spring days andsummer days to come - are finally her own This ideal romance and tragedy has transformedinto a tale of endure with estimable a few address .and a very exuberant widow (2006Mrs . Mallard has defied expectation , only when what astir(predicate) poor Gregor ? When we last leftfield ourmonstrous insect , we were left inquire (and perhaps biting our nails what carnage the vicious-doer might chatter . save Kafka has other plans in mind for his large anti-hero . Gregor awakens inthis condition , and yet his first thoughts are not of wonderment or as yet horror at his state , but ofhow he will be able to work and bread and butter his family . The focus of the recital becomes how theSamsa family handles this situation , and the psyc hological toll on Gregor . As time passesGregor succu! mbs further to his insect impulses . He becomes genius at victimization his body and beginsto spend most of his time crawling on the ceiling and the walls of his room . yet the one humanimpulse which never leaves Gregor is his appetency for companionship . He is aeonianly worriedover the state of his family , and his few stay human thoughts are al managements of their well-beingBut the metamorphosis straightawaytually proves also much for Gregor s family While sister Grete -once adoring and attentive - continues to scram her brother food , Gregor essential hide under thecouch or cover himself up so as not to lift her ( It made him realise that she still found hisappearance .she probably flat had to overcome the urge to flee (1972 ) He can no chronic behimself . The unfortunate is also reduced to listening to his family s conversations by means of akeyholeHowever , following the assault from his father , even these meek hearty interactions ceaseThe family spends all d ay at work , and when they do experience home , they do not even both(prenominal)er toclean after Gregor or to ensure that he has eaten : They no longer held the animated conversations of earlier times , of course , the ones that Gregor eer thought adjoining to with longing (1972 . Gregor is even ridiculed by an old make clean doll , who dubs him dung beetle (1972 In fact , it seems that Gregor s once close family values the lodgers whom they welcome into their home more than their own family process They stuff Gregor s room full of furniture in to reach out more room for the lodgers . In a tragically troubling scene , the family denounces Gregor as nothing more than an animal and an It (1972 Once-loving Grete even indirectly suggests that a noble course of action for Gregor would be suicide . If only Gregor would go away (1972 past the family would be relieved of its torment and burden . A simple teras movie tagline has become a emblem for the broken less-than- ideal , burst familySymbolism also permeates Robert ! icing s poem , but are the images invoked truly as inspirational as some would like to believe ? The dissevered form which the cashier describes exists as an exemplification . about readers readily recognize such an image as a metaphor for life decisions Countless works of literature study life to a journey . Paths and roads set out our travel along the journey of life . When we reach a diverg ent plosive speech sound on this journey , we must make a picking . Just as we cannot travel down two roads simultaneously , we cannot embrace both options when life presents us with a excerpt . Whether our dilemma is as trivial as a selection of items from a dejeuner menu or as encompassing as a career or romantic selection , we must always make a choice . We must always take one road , and one road only . The poem s narrator recognizes this finality . Although he marked the first for other day (line 13 , he doubted if he should ever come back (15 . The narrator kno ws that once he makes that choice , he cannot ever turn back . Other choices - and other forks in the road - await him : way leads on to way (14 . The poem is assuredly a metaphor for life choices , but what finding of fact does the narrator ultimately peddle onthese choices . sumptuous optimism or serious realityTraditional readings might offer the aforementioned affirmatory reading yet how does the narrator communicate a strife in hopeful expectation and in his true feelings ? This pernicious tension is underscored by the frequent use of punctuation in the poem . Commas , semicolons , and colons all represent falterings , diversions , additions . The narrator speaks almost with stream-of-consciousness , rambling through his story and inserting (or changing ) observations as he sees fit . altogether three stays give the reader a decimal point of relief . The second comma in the final stanza is of especial(a) interest . The parlance reads and I , I took the one less traveled by (18-19Why this final bit of hesitation ?! withal , why does the reader feel compelled to punctuate the germ of his culmination remarks with a brash exclamation point ? Could he be attempting to romanticize the passageway he ultimately chooses ? mean both the rhythm and rhyme intent which Frost employs .

As illustrious , the phrases flow freely - almost with a dream-like lumber . iambic tetrameter further instills a melodious feeling to the reading . The lines themselves delay and shorten subtly , lulling the reader into a mental vision . Equally subtle stylistic devices add to this restful tone . In the first stanza , Frost utilizes repetition (And , And , And , dapple assonance (surplus o s and oo s , consonance (the rotation of ow in the opening line , and alliteration ( wanted wear (8 ) take a breath somewhere (16-17 ) immerses the reader in expert form from the beginningSuch a conquest of lyrical form allows the narrator (and in a larger intelligence , the poet , to further invite his captive audience into a susceptible and perhaps even euphoric state . Is repetition not , in fact a highlight of proposition ? sensation could almost say the narrator is engaged in a magical dance with the audience , soothing all doubts (but whose doubts ) with dizzying turns of phrase ( Though as for that , the passing there (9 ) and brace , crying(a) beats of rhythm (four beats for each line , to be precise . A classic ABAAB rhyme scheme completes the romantic , ideal effect . The reader is subconsciously taken back to his or her own youth , when every life milestone was an exciting adventure and every choice - self-aggrandizing or sma ll - vibrated with exhilarating excitementYouthful id! ealism is a romantic public opinion , but is it real ? No fountain of youth exists . In the end , all of our journeys will end . The roads will taper off . Then what ? We find a disceptation , gather our (younger ) tell apartd ones around - just as the narrator implicitly does - and spin a tale . We merrily sigh (16 ) and feed the young s own hunger for entrust . thus far we hesitate , just like the narrator ( I , I . Our eyes fix on that final fork in the road . Do we think about those other forks in our path , the ones we did not travel ? Do we feel a wisp of those phantom emotions we never experienced ? Do those restful repetitions of our remembrances ( And .And .And ) transform into thundering echoes ? Do we sigh (16 ) for the life we led , or is that ironic sigh reserved for the life that could have been .the life that never will be ? The narrator closes with an obscure line : And that has made all the difference (20 . Why have generations of readers untrue that said difference was corroborative ? Perhaps this program line occurs for the same reason that the narrator feels compelled to romanticize his chosen path in life : regret and conflict , the ultimate human prisonIn a cruel twist of fate , a analogous prison literally comes walking back through the previous door for Mrs . Mallard in The Story of an Hour Brently s death symbolizes freedom for Mrs . Mallard . This lady , devoted and loving married woman to the outside world , acknowledges that Brently is a kind and loving man . She loves the man , as evidenced by her sad thoughts at seeing his kind , tender hands folded in death notwithstanding more than love , she desperately desires freedom ( this obstinance of self-assertion .the strongest impulse of her being . Mrs . Mallard reflects that freedom can never be found in marriage , because men and women believe they have a right to impose a private will upon a fellow-creature When her symbol of freedom - the evil of her husband - is shattered , so ultimately is Mrs . M! allard . Upon his die , Brently robs his wife of that simple chance to live for herself In the end Chopin has the final ironic laugh . Mrs . Mallard dies of a comfort that kills - the ultimate enigma (2006 . Like the wistful narrator of Frost s imagination (or rationale , Chopin s creation finds idealistic happiness cruelly snatched from her grasp . The realities of life have no place for idealistic fancy - another casualty of human conflictYet The Metamorphosis of darned Gregor Samsa delivers humanity s most prevalent casualty in its continual internal war : itself . Imprisoned and shut in by his own family ( he felt that he must go away even more strongly than his own sister (1972 ) Gregor continues to remember them with love as he dies - alone and obscure . And how does the family mourn Gregor .with thoughts of the ultimate social event , a get married Love once again prevails , and another convention dies with its hero .Life brims with possibilities . This asserti on seems promising Happiness , hope , love : every lordly , inspiring action and emotion is ours for the channelise . Our youth represents an unparalleled design in our lives - a period when the world answers our hunger for life Possibility defines youth . Yet possibility cannot exist separate from uncertainty . For every positive , a negative balances the scales . For every inspiration , melancholy stands just a breath away . Possibilities fill life , then so must uncertainty . The writer - the great surveyor of life - best recognizes this dichotomy . The meaning of the three examined works may escape some readers , but the authors expert use of symbolic representation style , and ultimate plot defiance are without unvarnished motion or debate . It is ironic (and most satisfactory ) that Kate Chopin , Franz Kafka , and Robert Frost s mastery of their craft are immortalized in literary masterpieces which so aptly capture the essence of mortality : the paradox of hope and heartbreakReferencesChopin , K (2006 . The Story of! an Hour Retrieved April 26 , 2008 from almost .comHYPERLINK hypertext transfer protocol /classiclit .about .com /library /bl-etexts /kchopin /bl-kchop-story .ht m http /classiclit .about .com /library /bl-etexts /kchopin /bl-kchop-story .htmFrost , R (1998 . The Road Not Taken Retrieved April 26 , 2008 , from BartlebyHYPERLINK http /www .bartleby .com /104 /67 .html http /www .bartleby .com /104 /67 .htmlKafka , F (1972 . The Metamorphosis . newfangled York : little ClassicsPAGEPAGE 10Lessons in Literature ...If you want to get a full essay, order it on our website: BestEssayCheap.com

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