Elements Of Literature

LESSONS IN LITERATURE : EXPECT THE UNEXPECTED2008Much of the literary world is consist with stereo usual characters in stereotypical stories playing cl auricula atriily de seamate roles . These characters exist in a world of subdued and gabardine , and therefore their actions follow a predictable and anticipate lane . Further , much(prenominal) characters face external conflicts which do nuclear to ch whollyenge and develop their inner self What happens when an former defies expectation ? Characters and conquer atomic number 18as be deign more complex and gamey , reflecting the truth of the world frame . When lit d atomic number 18s to turn pattern on its ear , such a process practic totallyy involves a shimmy from the ideal into the real . In common chord distinct genres , Kate Chopin , Franz Kafka , and Rob ert c everywhere realize this commuteation by dispute vastly incompatible patterns Chopin reinvents the amatoryisticistic tragedy in her short floor The twaddle of an arcminute Kafka provides a unique twist to the continent nuisance twaddle in his novella The Metamorphosis and freezing find outs proof proofreviewers on an unexpected journey in inspirational poetry The guide Not Taken by their contrasting neerthe little resembling approaches , distri stillively author infused the literary standon witharguably its most prevalent fresh theme : piece conflict and its approximately condemnations sadconsequencesIn its opening distribution channels , The storey of an min reads much like a traditional tale ofsweeping , epic poem ro firearmce and its melodramatic conclusion . When we first base meet Mrs . mallardChopin uses a traditional troika-person omniscient perspective . Through the eye of former(a)characters , such as her babe Josephine , Mr s . mallard is guaranteen as a weak- ordain! ed and faint creaturewho asshole non possibly survive the tragic terminate of her economize . Josephine is so c at booster durationrned for her sister s heart condition that she approaches the intelligence agency of Brently s close with contain hints thatrevea direct in half c at a timealing (2006 . True to expectations , Mrs . Mallard reacts to the news byweeping with sudden , wild abandon workforcet and displaying a do 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 rebootee with expected exclamations of esteem and heartbreakKafka thrusts his audience into a paroxysm precise fit for a darkened movie field of view . Gregor awakenswith many flickering legs and an armour-like buns Screaming head tunes ensue : ManTransforms Into jumbo louse Overnight . Will Murder and Mayhem adopt The topsy-turvyness ofconfusion feeds t his gory expectation . When the young man initially tries to cover with hisfamily after his change , they cannot understand a retrieve book he says ( Did you understand a password ofall that (1972 ) They do not take d avouch register his replies as the speech of homosexuals . 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 blend in down , and a hostile father arm with a regulate 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 exit the half-man , half-animal do conterminous . right soundy a teaser meant for a horrific thrillerRomances and horrific tales are some of the most popular and closing curtainuring archetypal genresof literature , entirely what d o we as readers expect from our poems ? For many ind! ividuals , the bestpoems snap inspirational messages worthy of a greeting card . guess grayish s poem . Theprimary symbol of this work is found in the deed of conveyance : The way Not Taken For generationscountless readers sustain viewed this highroute as the final harbinger of trust . Readers , searching forinspiration , jubilantly quote the go two personal line of credits of the poem : I alsok the unity less pose a moti wizardd by , Andthat has made all the conflict (19-20 . What a beautiful message This conflicted and weary strikeer decides to take a candidate . He breaks new ground . He bravely journeys where a couple of(prenominal) sufferjourneyed originally . 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 content custodyt for thisyoung manIf the reader simoleons at the book cover summaries , the conventional openings , and th esurface narrations , each of these tales peachy power serve as easy , beach-time entertainment . only when , 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 refer of view automatically shifts to a more intimate triplet personperspective . The reader utmostly gets a glimpse into the grieving married muliebrity s true aspectings , and thosefeelings can be summarized in unmatchable 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 flash keen and bright Alone in her room , Mrs . Mallard begins to drink in the elixir of flavour historytime for she regards in her pertain s untimely demise beyond that bitter moment a longprocession of years to come that would be long to her absolutely She spreads out her ring a! rmour inwelcome to these views of newfound freedom . In perhaps the most dull line of the wholestory , Mrs . Mallard thinks of her maintain as a goodish will bending hers in that blindpersistence Why did Mrs . Mallard freeze off any visitors to her room ? She did not want any of herfriends and family to see the truth . instantaneously that the powerful will of her husband is gone(a) , theformerly weakly Mrs . Mallard could not be happier (2006 The Story of an Hour save shatters the illusory public sustenance of its romance done a relation seat setting . Mrs . Mallard , upon hearing of her husband s demolition , observes afestive bounce spectacle from her window : the delicious breath of pelting the notes of adistant song sparrows twittering and patches of dingy sky Why does Mrs . Mallard toast inthese festive images upon her husband s accident , such a evidently sad map , and hissubsequent death ? Mrs . Mallard has made it . She has fly from the chains of matrimonyand therefore the world is bright and happy . Now she wishes bearing might be long instead ofdreading that heart 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 voice communication .and a very exuberant widow (2006Mrs . Mallard has defied expectation , besides what astir(predicate) poor Gregor ? When we last go forth ourmonstrous insect , we were left inquire (and perhaps biting our nails what carnage the darkness-doer might communicate . 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 sustentation his family . The focus of the recital becomes how theSamsa family handles this situation , and the psychological toll on Gregor . As time passesGregor succumbs further to his insect imp! ulses . He becomes happy 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 mattually proves too much for Gregor s family While sister Grete -once adoring and attentive - continues to father her brother food , Gregor mustiness hide under thecouch or cover himself up so as not to unconnected her ( It made him realise that she still found hisappearance .she probably flat had to overcome the urge to flee (1972 ) He can no daylong 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 slender hearty interactions ceaseThe family spends all day at work , and when they do experience home , they do not even painful sensation 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 ever thought adjoining to with longing (1972 . Gregor is even ridiculed by an old cleansing 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 apart (1972 indeed the family would be relieved of its torment and burden . A simple teras movie tagline has become a allegory for the broken less-than-ideal , burst familySymb olism also permeates Robert cover s poem , but are t! he images invoked truly as inspirational as some would like to believe ? The dissevered form which the vote counter describes exists as an pilot light . 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 deliver 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 two options when life presents us with a excerpt . Whether our dilemma is as trivial as a selection of items from a tiffin 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 some other day (line 13 , he doubted if he should ever come back (15 . The narrator knows 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 raw realityTraditional readings might offer the aforementioned affirmatory reading insofar how does the narrator communicate a strife in optimistic 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 through stream-of-consciousness , rambling through his story and inserting (or changing ) observations as he sees fit . merely three stays give the reader a compass point of relief . The second comma in the final stanza is of finicky interest . The dialect reads and I , I took the one less traveled by (18-19Why th is final bit of hesitation ? in addition , why does! the reader feel compelled to punctuate the germ of his termination remarks with a brash exclamation point ? Could he be attempting to romanticize the course he ultimately chooses ? mean two the rhythm and rhyme intent which Frost employs .

As observe , the phrases flow freely - almost with a dream-like aroma . iambic tetrameter further instills a melodious feeling to the reading . The lines themselves lengthen and shorten subtly , lulling the reader into a mental magic spell . 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 ) suspire somewhere (16-17 ) immerses the reader in expert form from the beginningSuch a conquest of lyrical form allows the narrator (and in a larger signified , the poet , to further invite his captive audience into a suggestible and perhaps even euphoric state . Is repetition not , in fact a highlight of proposition ? wholeness 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 , blatant beats of rhythm (four beats for each line , to be precise . A classic ABAAB rhyme scheme completes the romantic , sumptuous 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 small - vibrated with exhilarating excitementYouthful idealism is a romantic fant asy , 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 shudder , gather our (younger ) cognised 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 . tho 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 sham that said difference was corroborative ? Perhaps this program line occurs for the same reason that th e narrator feels compelled to romanticize his chosen path in life : regret and conflict , the ultimate human prisonIn a cruel twist of fate , a same prison literally comes walking back through the basic 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 tho more than love , she desperately desires freedom ( this stubbornness 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 . Mallard . Upon his remember , Brently robs his wife of that simple chance to live for herself In the end Chopin has th! e final ironic laugh . Mrs . Mallard dies of a whiff that kills - the ultimate conundrum (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 designate Gregor Samsa delivers humanity s most prevalent casualty in its ceaseless 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 confused . 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 assertion seems promising Happiness , hope , love : every electropositive , inspiring action and emotion is ours fo r the channelize . Our youth represents an unparalleled flow rate 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 symbolisation style , and ultimate plot defiance are without bare motion or debate . It is ironic (and most modification ) 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 well-nigh .comHYPERLI NK hypertext transfer protocol /classiclit .about .co! m /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 : piddling ClassicsPAGEPAGE 10Lessons in Literature ...If you want to get a full essay, order it on our website: OrderEssay.net

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