¶ … Cather's characterization of Paul, his imagination is theater. His imagined life is the theater that he has built with glitter and effects in a dream world that not only gave him comfort, but and also sustained him. The author uses Romance, alluding to Paul's idealized view of reality. He got a feeling of excitement from his escapades influenced by his deep desire to be at the Carnegie Hall where he revealed a "vivacious and animated" persona liberated by his environment and music. Theater at Carnegie Hall was true representation of the theater in his mind, the dream, the theater where music and art were the entrance to this portal of Romance. He lives for his weekends at Carnegie Hall and the theater, and school to him is trivial. Cather perfectly paints the picture of Paul's dream by writing; "the stage entrance of that theatre was for Paul the actual portal of Romance" She goes further to explain that no one knew the impact of the theater on Paul's life not even his close friend Charley Edwards. "It was very like the old stories that used to float about London of fabulously rich Jews, who had subterranean halls there; with palms, and fountains, and soft lamps, and richly appareled women who never saw the disenchanting light...
Cather draws a picture of a Paul with a religious dedication to this life the theater. She writes, "Paul had his secret temple... his bit of blue-and-white Mediterranean shore." This reveals how closely and tightly he held this dreamland she refers to as dome in air.
. . I cannot live without my life! I cannot live without my soul!' (139). Perhaps the scene of Heathcliff digging up her grave eighteen years after her death is the most compelling because it represents the force of their love and how time or distance could not separate them. Cathy serves as a constant reminder with her eyes and Nelly even notices this similarity and how it upset
This contrasts the identification process of medieval works, in which the reader was encouraged to identify with a hero's inhuman qualities -- inhuman virtue in the case of books of chivalry. In those works the reader was called to identify himself with a god -- or even God proper -- but in Hamlet the reader is called only to identify himself with another, equally flawed man. Finally, in the question
The characters in the film are multi-layered. When we get below the surface we find that these members of the aristocracy do not present a favorable appearance at all. Their hidden world is one of scandal. Renoir's characters go beyond a love triangle. They come to represent many complex relationships and interactions. There are love triangles within love triangles and many innuendos throughout the film. The revelation of these many
Her insistence of turning down the dirt road is what gets the family into trouble. She expects the family to do things her way and she expects everyone to live by her standards. She thinks much of herself and her heritage and tells John, "I wouldn't talk about my native state that way" (O'Connor 1938). When his comment to her is "Tennessee is just a hillbilly dumping ground" (1938),
The drama is tragic but what makes it more tragic is how the father passes down the doomed dreaming legacy to his sons. Robert Spiller observes that Willy Loman is Miller's "most beautifully conceived character" (Spiller 1450), who dies at the end of the play, "still believing in the American success myth that killed him and infected his sons" (1450). The man is to be admired because of his
Characterization of Shimamura in Kawabata's Snow Country Shimamura reads a great deal about the Occidental ballet without ever having attended a performance; his passion for things beyond his ken is a strong characterization for the safe distance and detachment in his life and soul. Wealthy, bored, dissatisfied, and detached from life and love, he travels to Japan's snow country and meets the aging geisha, Komako. Distracted from his writing about
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