Analyzing The Theme Of Nature In Literary Devices English Literature Essay

The line of business of disposition is re every last(predicate)y of import to each of the textbooks to be discussed in this sample The Fat Black Woman s Poems by Grace Nichols last of a Salesman by Arthur Miller and widely Sargasso Sea by dungaree Rhys. In a sense, the fact that each work is created inwardly a polar literary genre to whatever extent dictates the native differences amongst them. However, this essay sets turn up to analyze how, in add-on to comparing literary devices, nature is utilise as a contrary jussive mood in each of the selected texts.Throughout the drama, Willy escapes linchpin into his memories and it is profoundly important, whence, that the countryside is on the whole in allied to this I was madcap along, you understand? And I was all right. I was even detecting the scenery. You erect conceive of, me looking at scenery, on the route every calendar week of my life. But it s so good-looking up at that place, Linda, the trees argon so thi ck, and the Sun is warm 3 Loman both belongs in the resign and out of it because he has merely used it, as he has used both social functions and people, to acquire in front. The fact that he has been unsuccessful is hence a treachery of his ain and a generic reverie that is never fulfilled nor justified, merely as the news report he begins to state Linda, his get hitched with woman, ends non in revery on the idyllic, as it started, entirely on expiry of control all of a sudden I m change of location off the route 4 Miller uses nature, hence, as an emblem of Willy s displacement Many of Willy s activities apprize be seen as extremely symbolic. He workss seeds merely as he workss false hopes both will communicate and neer come to fruition, mostly because the house has become excessively hemmed in by the metropolis. 5 In add-on, a farther lost dream of Willy s has been connected with nature, that of his brother, Ben s, offer to fall in him and do his luck beyond the subur ban life Willy has lived William, when I walked into the jungle, I was 17. When I walked out I was 21. And, by God, I was rich 6 For Willy, hence, nature has become a topographical point of lost hope where the grass do nt construction any longer 7 it does non belong and nor does he A dupe of both a hardhearted capitalist society and his ain mis cutn dreams, Willy s eventual self-destruction is presented with tragic dimensions. His beliefs may be misguided, but he stays true to them to the terminal. Although he has neither societal nor reasoning(prenominal) stature, Willy has self- think of, and he strives to keep this as his life falls apart rough him. 8 Supplanting is besides a major characteristic of Jean Rhys s novel, Wide Sargasso Sea. First published in 1966, it is a prequel to Charlotte Bronte s Jane Eyre, foremost published in 1847. The fresh uses nature as a agency of developing the narration of Rochester s first married woman, Bertha Mason, here known as Antoinett e Cosway, a immature adult feminine who feels herself displaced following the liberation of the slaves who had worked on her rest home s plantation. The really articulate topographic point occurs many fourth dimensions in the novel 9 and Antoinette seeks consolation in what she sees as an Eden garden, her doer place, from which she is cast out A really of import early set piece is Antoinette s description of the garden at Coulibri, where she was a kid, a garden which was apparent based on Rhys s memories of her womanly parent s household estate at Geneva. It marks childhood as taking topographic point in a damaged Eden. 10 The description of the garden is therefore really of import to an apprehension of Antoinette and of the manner Rhys uses her connexion with nature to help her character and thematic developmentOur garden was big and beautiful as that garden in the Bible the tree of life grew at that place. But it had gone unrestrained. The waies were overgrown and a odor of dead flowers interact with the fresh life odor. Underneath the tree ferns, tall as plant tree ferns, the visible radiation was green. Orchids flourished out of range or for some ground non to be touched. One was serpentine looking, another bid an grey whale with long thin brown tentacles bare of foliages hanging from a malformed root. Twice a twelvemonth the octopus orchid flowered so non an inch of tentacle showed. It was a bell-shaped mass of vacuous, mauve, deep purples, fantastic to see. The fragrancy was really angelical and fond. I neer went near it. 11 The genitive case pronoun with which this paragraph opens instantly establishes the duality of Antoinette s state of affairs. This is her place, it should experience same(p) hers but it does non. The beauty she infers has a ambidextrous luxuriance because it has gone wild , symbolic of a land which has lost control, albeit for a positive ground. The life and the dead mix and encroach upon one another, a nd there is a serpent in the garden in the snaky orchids. Further more, the twisted root implies a deformation of what was meant to be, metaphorically repeating Antoinette s supplanting. In add-on, this is non the lone congressman of topographic points looking resonant of temperament and/or state of affairs Places are highly alive in this novel the menacing, exuberant garden at Coulibri, the cryptic washup pool at Coulibri, sunset by the huts of the plantation workers, the route from the small town of Massacre up to Granbois, the ocean and throw away at sundown from the ajoupa or thatched shelter at Granbois, the bathing pools at Granbois ( the bubbly pool and the nutmeg pool ) the forest where Antoinette s hubby wanders until he is lost, the route to Christophine s place, the trees and bamboos round the house at Granbois. 12 Here, Antoinette appears at the same time intoxicated and repelled by the sweet and strong of the garden, which possibly says something about her simil arly ambivalent attitude towards those around her and they to her The image we now have of Rhys and her heroines is that of a inactive, impotent, self-victimized schizotypal personality who, comfy with failure, wields her failing like a arm all every bit subjective as being pistillate. 13 The presentation of nature at the honeymoon house is likewise hard to put, looking to be one thing but really being another, but her former place is a sacred immortal where Antoinette hugs to herself the secret hidden in Coulibri . 14 It is, so, these secrets in isolation, echoed in the descriptions of Antoinette s fatherland that make the representation of nature in Wide Sargasso Sea so clearly an jussive mood of the textEqually long as Antoinette chiffonier retrieve and order the events of her memories into a secular or causal chronological succession, make even an semblance of succession and keep a mensural sense of infinite and clip, so she can keep her life and ego together. Her act of narrative becomes an act of affirmation and coherence, a nod to the universe and its conventions, an effort to forestall herself from fade outing. When, in Part Three, Antoinette lies encaged in Thornfield Hall s dark, cold loft, the togss that hold her to the reality that the universe perceives as saneness eventually interrupt. These togss are the elements of conventional narrative additive chronology, sequence, narratorial clarity, distance. She herself admits at this point that time has no significance sequence disintegrates into a confusion of present and past and finally into a dream which narrates her hereafter. 15 This has been quoted at length because it addresses many of the literary devices that the novelist, as contradictory to the playwright or poet, can utilize to develop a subject. With respect to nature, it is used by Rhys, as suggested above, to make a temporal infinite for Antoinette that is symbolic of the individuality she has lost. The abandon which is infringing upon the Eden of the garden, subsequently to be exclusively destroyed, is an illustration of the manner in which the novelist can utilize one strong image to take into another, both being resonant of the yesteryear. Indeed, once more as stated above, the act of stating the narrative creates the character in the conduce of the reader and the locations in which she is placed are connected to that, as is the temporal disruption which memory green goodss and which is frequently, as with Antoinette, declarative mood of her res publica of head. The evocation of nature as a turbulent and affectional front man adds to this, with the sea as the ultimate semiotic of challenge, pandemonium and disruption.Grace Nichols second hookup of poetry, The Fat Black Woman s Poems, published in 1984, besides uses nature to invoke a peculiar image. However, as this is song, the linguistic and literary devices used are really different from either those of the dramatist and/or novelist. Nichols grew up in Guyana 16 but has made her life and trade in England, she has lived and worked in Britain since 1977 17 , and this cross-cultural jussive mood is really much(prenominal) evident in her work her poems often acknowledge the foreigner clime, geographics, and refining of England s metropoliss 18 Within The Fat Black Woman s Poems, Nichols seeks to arouse a different perceptual experience of beauty from that which is shown in white Western civilization Nichols besides deploys the fat discolour adult female as a powerful challenge to the dictatorship of Western impressions of female beauty 19 and therefore engender a new heroine, a adult female who revises the aesthetic of female beauty. 20 One of the techniques Nichols employs to make this is conjunction nature with an facet of the physical ego, as here in Thoughts undirected through the fat black adult female s principal while holding a full bubble bath Steatopygous skySteatopygous seaSteatopygous moving ridgesSteatopygous me 21 The unfamiliar word, steatopygous ( intending holding to the full locomote natess ) is repeated for accent and juxtaposed with images of nature so as to pose forth an emblem of the black adult female as stop point to nature, her organic structure shaped like the sky, moving ridges and sea. Nichols is authorising black adult females in image by making this as she does by giving the black adult female her ain alone region In doing the fat black adult female the speech output topic of many of these verse forms, Nichols signals her refusal to busy the topic ( erectile dysfunction ) place designated for the black adult female by history and to take a firm stand on more complex subjectivenesss. 22 Nichols is besides concerned that the voice should look realistic and hence the internal images perform yet another map Like many Afro-Caribbean authors, Nichols infuses her poesy with the religious energy of the usage of adult females before her, a tradition that has little written record. 23 In another verse form from the aggregation, debaucher , this reproduction of a different image of physical prayer can besides be seen to be connected with natureBeautyis a fat black adult femalewalking the Fieldss urgent a breezedhibiscusto her cheekwhile the Sun lights up her pessBeautyis a fat black adult femalesiting the moving ridgesfloating in happy limbowhile the sea turns backto embrace her form 24 Again, the adult female is juxtaposed with nature, supplying a integrity mingled with the character and her milieus which is both actual and metaphorical. Repeat is used one time more by the poet to underscore the connexion surrounded by the subject of the aggregation and beauty in abstract. Indeed, the word Beauty , the merely capitalised word in the verse form, is set entirely on a line, as is hibiscus , as if to emphasize its importance as an emblem or iconic of what Nichols says is an coercive i.e. that this is what beauty unambiguous ly is. There is a common embracing between the adult female and nature, she pressing the hibiscus/to her cheek and the sea bend ing back/to hug her form . It is as if Nichols is proposing that the fat black adult female who is riding the waves/drifting in happy limbo is in consistency with nature and recognised by it as being so. All of nature, so, like the Sun that lights up her pess is lauding her and she it. There is no punctuation in the poetries, underscoring the smooth, instinctive flow of the descriptions and the manner in which they are intended to connote all that is inherently natural. As Nichols writes in The Assertion , This is my birthright 25 and therefore the probe of beauty inwardly the verse forms becomes a socio-political jussive mood, excessively.In decision, all three texts Miller s Death of a Salesman, Rhys s Wide Sargasso Sea and Nichols The Fat Black Woman s Poems all use nature as a manner of enlarging upon and more in effect showing their c ardinal concerns. An of import component of this is the manner in which low-down false belief is used by the writers, i.e. nature reflecting and/or proposing a temper or subject. As the three texts discussed here are from different genres, they of class usage nature in different ways, using different literary devices, as has been shown. However, for each of the writers nature is singularly of import and enriches the wholeness texts immeasurably. In the concluding analysis, hence, it might be suggested, so, that nature itself becomes about a communicative character within each of the really different plants discussed within this essay, as its importance to the creative activity and communicating of each can non be overestimated.