The Art of English Language: December 2012

Sunday, December 30, 2012

A Critical Analysis of Tennysons In Memoriam A H H

A Critical Analysis of Tension's In Memorial A. H. H.

During the Victorian Period, long held and comfortable religious
beliefs fell under great scrutiny. An early blow to these beliefs came
from the Utilitarian, followers of Jeremy Bantam, in the form of a test
by reason of many of the long-standing institutions of England,
including the church. When seen through the eyes of reason, religion
became "merely an outmoded superstition" (Ford & Christ 896). If this
were not enough for the faithful to contend with, the torch of doubt was
soon passed to the scientists. Geologists were publishing the results
of their studies which concluded that the Earth was far older than the
biblical accounts would have it (Ford & Christ 897). Astronomers were
extending humanity's knowledge of stellar distances, and Natural
Historians such as Charles Darwin were swiftly building theories of
evolution that defied the Old Testament version of creation (Ford &
Christ 897). God seemed to be dissolving before a panicked England's
very eyes, replaced by the vision of a cold, mechanistic universe that
cared little for our existence.
Alfred, Lord Tennyson was painfully aware of the implications of
such a universe, and he struggled with his own doubts about the
existence of God. We glimpse much of his struggles in the poem In
Memorial A. H. H., written in memory of his deceased friend, Arthur
Hallam. The poem seemed to be cathartic for Tennyson, for through its
writing he not only found an outlet for his grief over Hallam's death,
but also managed to regain the faith which seemed at times to have
abandoned him. Tennyson regained and firmly reestablished his faith
through the formation of the idea that God is reconciled with the
mechanistic universe through a divine plan of evolution, with Hallam as
the potential link to a greater race of humans yet to come.
In the first of many lyric units, Tennyson's faith in God and
Jesus seems strong. He speaks of "Believing where we cannot prove" (l.
4), and is sure that God "wilt not leave us in the dust" (l. 9). The
increasing threat posed to religion by science does not worry Tension
here, as he believes that our increasing knowledge of the universe can
be reconciled with faith, saying:

"Let knowledge grow from more to more,
But more of reverence in us dwell;
That mind and soul, according well,
May make one music as before" (1. 25-28).

He does anticipate doubt, though, as he asks in advance for God's
forgiveness for the "Confusions of a wasted youth" (l. 42). Tennyson
here foresees the difficulties inherent in reconciling God with the cold
universe slowly emerging for the notes of scientists.
In order to deal with the tasks set before him, Tennyson must
first boldly face the possibility of a world without God. In stanza
number three, Sorrow, personified as a woman, whispers these
disconcerting possibilities to a grief-ridden Tennyson, saying, "And all
the phantom, Nature, stands-... / A hollow form with empty hands" (3.9,
12). He questions whether he should "embrace" or "crush" Sorrow with
all her uncomfortable suggestions.
Tennyson goes on to face an even worse possibility than a lonely
universe, that being the possibility of an existence without meaning.
In this view, human life is not eternal, and everything returns to dust
forever. God is like "some wild poet, when he works / Without a
conscience or an aim" (34.7-8). Why even consider such a God, Tennyson
asks, and why not end life all the sooner if this vision of God is true
(34.9-12)? He answers himself in the next poem, however, as he banishes
such a possibility on the evidence that love could never exist in such a
reality. What we consider to be love would actually be only be a
two-dimensional sense of "fellowship," such as animals must feel, out of
boredom or crude sensuality (35.21-24)
The many poems which follow fluctuate between faith and doubt. In

poem fifty-four Tennyson consoles himself with the thought:

"That nothing walks with aimless feet;
That not one life shall be destroyed,
Or cast as rubbish to the void,
When God hat made the pile complete" (54.5-9).
Line nine of poem fifty-four definitely assumes a plan for God's
creation, humanity, and an end goal. In the next two poems, however, he
returns to the doubts which a scientific reading of nature inspires, and
reminds himself that though nature is "So careful of the type" (55.7),
she is yet "careless of the single life" (55.8). This notion of
survival of the fittest is extremely disconcerting to Tennyson. He
notices in poem fifty-six the even more alarming fact that many species
have passed into oblivion, and that humans could very well follow in
their footsteps. This is the mechanistic "Nature, red in tooth and
claw," (56.15) whose existence seemed beyond a care of human lives and
human needs. No longer were men God's chosen and beloved, but, on the
contrary, they seemed no more noble than the countless scores of other
life which had roamed the planet and passed into extinction. Tennyson
writes:
"O life as futile, then as frail!
O for thy voice to soothe and bless!
What hope of answer, or redress?
Behind the veil, behind the veil" (56.25-28).
He feels, here, all too well the possibility of our own cosmic
insignificance.
The one hope that remains for Tennyson lives in the thought that
evolution might actually be God's divine plan for humanity. If we have,
in fact, developed to our present state from a lower form, then who is
to say that development has ceased? Might we not be evolving ever
closer to God's image and divinity itself, leaving behind the
"Satyr-shape" (35.22) and ape-like visage of our ancestors? The fact
that we love, as Tennyson mentioned before, separates us from animals.
To support this idea, Tennyson delves into his relationship with Arthur
Hallam, a figure linking humanity's present condition to the superior
race yet to come. In poem sixty-four, Tennyson speaks of Hallam,
describing him with the words:
"And moving up from high to higher,
Becomes on Fortune's crowning slope
The pillar of a people's hope,
The center of a world's desire" (64.13-16).
In subsequent sections, he speaks of the divinity present in Hallam,
seeming to compare him at times even to Jesus, as in poem eighty-four,
where he writes, "I see thee sitting crowned with good" (84.5), and,
later, in unit eighty-seven, "...we saw / The God within him light his
face, / And seem to lift the form, and glow / In azure orbits
heavenly-wise' (87.35-37). Hallam, Tennyson suggests, would have been a
link not only between the present race and that which is to come, but
also between a world in turmoil and the God who will restore it to
peace. This notion of the division between chaotic nature and an
ordered divinity is metaphorically expressed through images of the
spirit leaving the body (47.6-7), the body, of course, being the
physical entity prone to sickness and weariness, and the spirit as the
transcendent aspect which shall someday be reunited with those in Heaven
(47.9-16).
He speaks of the coming of the "thousand years of peace" (106.28),
presumably when the higher race is realized and all institutions have
been reformed for the "common love of good" (106.24). It is not yet
time, though, for this race to find fruition. He speaks of Hallam as
"The herald of a higher race" (118.14), suggesting that his friend was
merely a glimpse of what is yet to come. Humanity must yet "Move
upward, working out the beast, And let the ape and tiger die"
(118.27-28). In other words, a nature now brutal and cold, careless of
life, will someday become, "High nature amorous of the good"
(109.10-11). These words suggest a slow process, not to be accomplished
in the life of merely one man, no matter how great he may be. Tennyson
seems comforted by the contemplation of the golden age to come, though,
saying, "And all is well, though faith and form / Be sundered in the
night of fear" (127.1-2). Through his contemplation, Tennyson seems to
have renewed his faith that nature has not been abandoned by God, though
science would have us believe it so.
Finally, after addressing these doubts raised by science, Tennyson
turns his sights to the Utilitarian attack on religion. In poem 124, he
explains that one cannot come to God through reason, but must fell
divinity. He writes:
"I found Him not in world or sun,
Or eagle's wing, or insect's eye,
Nor through the questions men may try,
The petty cobwebs we have spun" (124.4-7).
Instead, Tennyson rediscovers his faith through the emotion, saying "I
have felt" (124.16). This statement harkens back to the passages in
which Tennyson speaks of love as the convincing factor that we are not
alone, for without God, love would be an excessive and unnecessary
dimension, and thus would have no reason to exist at all in a
mechanistic universe.. His love for Hallam, and the hope that they will
someday meet again, is thus the tie which holds Tennyson to his faith.
Through Hallam, whom Tennyson says, "O'erlook'st the tumult for afar"
(127.19), he knows "all is well" (127.20).
With the epilogue, the private, intellectual wars of In Memoriam
conclude peacefully. Tennyson describes the wedding day of his sister
and suggests that the child resulting from the union will be yet "a
closer link / Betwixt us and the crowning race...No longer half-akin to
brute" (127-28, 133). He reminds us yet again that Hallum "Appear[ed]
ere the times were ripe" (139), and thus merely anticipated that
"far-off divine event, / To which the whole creation moves" (143-44).

Works Cited

Ford, George H. and Carol T. Christ. "The Victorian Age". The Norton
Anthology of English Literature. Ed. M. H. Abrams. New York:
W. W. Norton and Co., 1993. (pps. 891-910).

Tennyson, Alfred, Lord. In Memoriam A. H. H.. Ed. M. H. Abrams. New
York: W. W. Norton and Co., 1993. (pps. 1084-1133).

A Critical Analysis of Tension's In Memorial A. H. H.

During the Victorian Period, long held and comfortable religious
beliefs fell under great scrutiny. An early blow to these beliefs came
from the Utilitarian, followers of Jeremy Bantam, in the form of a test
by reason of many of the long-standing institutions of England,
including the church. When seen through the eyes of reason, religion
became "merely an outmoded superstition" (Ford & Christ 896). If this
were not enough for the faithful to contend with, the torch of doubt was
soon passed to the scientists. Geologists were publishing the results
of their studies which concluded that the Earth was far older than the
biblical accounts would have it (Ford & Christ 897). Astronomers were
extending humanity's knowledge of stellar distances, and Natural
Historians such as Charles Darwin were swiftly building theories of
evolution that defied the Old Testament version of creation (Ford &
Christ 897). God seemed to be dissolving before a panicked England's
very eyes, replaced by the vision of a cold, mechanistic universe that
cared little for our existence.
Alfred, Lord Tennyson was painfully aware of the implications of
such a universe, and he struggled with his own doubts about the
existence of God. We glimpse much of his struggles in the poem In
Memorial A. H. H., written in memory of his deceased friend, Arthur
Hallam. The poem seemed to be cathartic for Tennyson, for through its
writing he not only found an outlet for his grief over Hallam's death,
but also managed to regain the faith which seemed at times to have
abandoned him. Tennyson regained and firmly reestablished his faith
through the formation of the idea that God is reconciled with the
mechanistic universe through a divine plan of evolution, with Hallam as
the potential link to a greater race of humans yet to come.
In the first of many lyric units, Tennyson's faith in God and
Jesus seems strong. He speaks of "Believing where we cannot prove" (l.
4), and is sure that God "wilt not leave us in the dust" (l. 9). The
increasing threat posed to religion by science does not worry Tension
here, as he believes that our increasing knowledge of the universe can
be reconciled with faith, saying:

"Let knowledge grow from more to more,
But more of reverence in us dwell;
That mind and soul, according well,
May make one music as before" (1. 25-28).

He does anticipate doubt, though, as he asks in advance for God's
forgiveness for the "Confusions of a wasted youth" (l. 42). Tennyson
here foresees the difficulties inherent in reconciling God with the cold
universe slowly emerging for the notes of scientists.
In order to deal with the tasks set before him, Tennyson must
first boldly face the possibility of a world without God. In stanza
number three, Sorrow, personified as a woman, whispers these
disconcerting possibilities to a grief-ridden Tennyson, saying, "And all
the phantom, Nature, stands-... / A hollow form with empty hands" (3.9,
12). He questions whether he should "embrace" or "crush" Sorrow with
all her uncomfortable suggestions.
Tennyson goes on to face an even worse possibility than a lonely
universe, that being the possibility of an existence without meaning.
In this view, human life is not eternal, and everything returns to dust
forever. God is like "some wild poet, when he works / Without a
conscience or an aim" (34.7-8). Why even consider such a God, Tennyson
asks, and why not end life all the sooner if this vision of God is true
(34.9-12)? He answers himself in the next poem, however, as he banishes
such a possibility on the evidence that love could never exist in such a
reality. What we consider to be love would actually be only be a
two-dimensional sense of "fellowship," such as animals must feel, out of
boredom or crude sensuality (35.21-24)
The many poems which follow fluctuate between faith and doubt. In

poem fifty-four Tennyson consoles himself with the thought:

"That nothing walks with aimless feet;
That not one life shall be destroyed,
Or cast as rubbish to the void,
When God hat made the pile complete" (54.5-9).
Line nine of poem fifty-four definitely assumes a plan for God's
creation, humanity, and an end goal. In the next two poems, however, he
returns to the doubts which a scientific reading of nature inspires, and
reminds himself that though nature is "So careful of the type" (55.7),
she is yet "careless of the single life" (55.8). This notion of
survival of the fittest is extremely disconcerting to Tennyson. He
notices in poem fifty-six the even more alarming fact that many species
have passed into oblivion, and that humans could very well follow in
their footsteps. This is the mechanistic "Nature, red in tooth and
claw," (56.15) whose existence seemed beyond a care of human lives and
human needs. No longer were men God's chosen and beloved, but, on the
contrary, they seemed no more noble than the countless scores of other
life which had roamed the planet and passed into extinction. Tennyson
writes:
"O life as futile, then as frail!
O for thy voice to soothe and bless!
What hope of answer, or redress?
Behind the veil, behind the veil" (56.25-28).
He feels, here, all too well the possibility of our own cosmic
insignificance.
The one hope that remains for Tennyson lives in the thought that
evolution might actually be God's divine plan for humanity. If we have,
in fact, developed to our present state from a lower form, then who is
to say that development has ceased? Might we not be evolving ever
closer to God's image and divinity itself, leaving behind the
"Satyr-shape" (35.22) and ape-like visage of our ancestors? The fact
that we love, as Tennyson mentioned before, separates us from animals.
To support this idea, Tennyson delves into his relationship with Arthur
Hallam, a figure linking humanity's present condition to the superior
race yet to come. In poem sixty-four, Tennyson speaks of Hallam,
describing him with the words:
"And moving up from high to higher,
Becomes on Fortune's crowning slope
The pillar of a people's hope,
The center of a world's desire" (64.13-16).
In subsequent sections, he speaks of the divinity present in Hallam,
seeming to compare him at times even to Jesus, as in poem eighty-four,
where he writes, "I see thee sitting crowned with good" (84.5), and,
later, in unit eighty-seven, "...we saw / The God within him light his
face, / And seem to lift the form, and glow / In azure orbits
heavenly-wise' (87.35-37). Hallam, Tennyson suggests, would have been a
link not only between the present race and that which is to come, but
also between a world in turmoil and the God who will restore it to
peace. This notion of the division between chaotic nature and an
ordered divinity is metaphorically expressed through images of the
spirit leaving the body (47.6-7), the body, of course, being the
physical entity prone to sickness and weariness, and the spirit as the
transcendent aspect which shall someday be reunited with those in Heaven
(47.9-16).
He speaks of the coming of the "thousand years of peace" (106.28),
presumably when the higher race is realized and all institutions have
been reformed for the "common love of good" (106.24). It is not yet
time, though, for this race to find fruition. He speaks of Hallam as
"The herald of a higher race" (118.14), suggesting that his friend was
merely a glimpse of what is yet to come. Humanity must yet "Move
upward, working out the beast, And let the ape and tiger die"
(118.27-28). In other words, a nature now brutal and cold, careless of
life, will someday become, "High nature amorous of the good"
(109.10-11). These words suggest a slow process, not to be accomplished
in the life of merely one man, no matter how great he may be. Tennyson
seems comforted by the contemplation of the golden age to come, though,
saying, "And all is well, though faith and form / Be sundered in the
night of fear" (127.1-2). Through his contemplation, Tennyson seems to
have renewed his faith that nature has not been abandoned by God, though
science would have us believe it so.
Finally, after addressing these doubts raised by science, Tennyson
turns his sights to the Utilitarian attack on religion. In poem 124, he
explains that one cannot come to God through reason, but must fell
divinity. He writes:
"I found Him not in world or sun,
Or eagle's wing, or insect's eye,
Nor through the questions men may try,
The petty cobwebs we have spun" (124.4-7).
Instead, Tennyson rediscovers his faith through the emotion, saying "I
have felt" (124.16). This statement harkens back to the passages in
which Tennyson speaks of love as the convincing factor that we are not
alone, for without God, love would be an excessive and unnecessary
dimension, and thus would have no reason to exist at all in a
mechanistic universe.. His love for Hallam, and the hope that they will
someday meet again, is thus the tie which holds Tennyson to his faith.
Through Hallam, whom Tennyson says, "O'erlook'st the tumult for afar"
(127.19), he knows "all is well" (127.20).
With the epilogue, the private, intellectual wars of In Memoriam
conclude peacefully. Tennyson describes the wedding day of his sister
and suggests that the child resulting from the union will be yet "a
closer link / Betwixt us and the crowning race...No longer half-akin to
brute" (127-28, 133). He reminds us yet again that Hallum "Appear[ed]
ere the times were ripe" (139), and thus merely anticipated that
"far-off divine event, / To which the whole creation moves" (143-44).

Works Cited

Ford, George H. and Carol T. Christ. "The Victorian Age". The Norton
Anthology of English Literature. Ed. M. H. Abrams. New York:
W. W. Norton and Co., 1993. (pps. 891-910).

Tennyson, Alfred, Lord. In Memoriam A. H. H.. Ed. M. H. Abrams. New
York: W. W. Norton and Co., 1993. (pps. 1084-1133).

A Critical Analysis of Tension's In Memorial A. H. H.

During the Victorian Period, long held and comfortable religious
beliefs fell under great scrutiny. An early blow to these beliefs came
from the Utilitarian, followers of Jeremy Bantam, in the form of a test
by reason of many of the long-standing institutions of England,
including the church. When seen through the eyes of reason, religion
became "merely an outmoded superstition" (Ford & Christ 896). If this
were not enough for the faithful to contend with, the torch of doubt was
soon passed to the scientists. Geologists were publishing the results
of their studies which concluded that the Earth was far older than the
biblical accounts would have it (Ford & Christ 897). Astronomers were
extending humanity's knowledge of stellar distances, and Natural
Historians such as Charles Darwin were swiftly building theories of
evolution that defied the Old Testament version of creation (Ford &
Christ 897). God seemed to be dissolving before a panicked England's
very eyes, replaced by the vision of a cold, mechanistic universe that
cared little for our existence.
Alfred, Lord Tennyson was painfully aware of the implications of
such a universe, and he struggled with his own doubts about the
existence of God. We glimpse much of his struggles in the poem In
Memorial A. H. H., written in memory of his deceased friend, Arthur
Hallam. The poem seemed to be cathartic for Tennyson, for through its
writing he not only found an outlet for his grief over Hallam's death,
but also managed to regain the faith which seemed at times to have
abandoned him. Tennyson regained and firmly reestablished his faith
through the formation of the idea that God is reconciled with the
mechanistic universe through a divine plan of evolution, with Hallam as
the potential link to a greater race of humans yet to come.
In the first of many lyric units, Tennyson's faith in God and
Jesus seems strong. He speaks of "Believing where we cannot prove" (l.
4), and is sure that God "wilt not leave us in the dust" (l. 9). The
increasing threat posed to religion by science does not worry Tension
here, as he believes that our increasing knowledge of the universe can
be reconciled with faith, saying:

"Let knowledge grow from more to more,
But more of reverence in us dwell;
That mind and soul, according well,
May make one music as before" (1. 25-28).

He does anticipate doubt, though, as he asks in advance for God's
forgiveness for the "Confusions of a wasted youth" (l. 42). Tennyson
here foresees the difficulties inherent in reconciling God with the cold
universe slowly emerging for the notes of scientists.
In order to deal with the tasks set before him, Tennyson must
first boldly face the possibility of a world without God. In stanza
number three, Sorrow, personified as a woman, whispers these
disconcerting possibilities to a grief-ridden Tennyson, saying, "And all
the phantom, Nature, stands-... / A hollow form with empty hands" (3.9,
12). He questions whether he should "embrace" or "crush" Sorrow with
all her uncomfortable suggestions.
Tennyson goes on to face an even worse possibility than a lonely
universe, that being the possibility of an existence without meaning.
In this view, human life is not eternal, and everything returns to dust
forever. God is like "some wild poet, when he works / Without a
conscience or an aim" (34.7-8). Why even consider such a God, Tennyson
asks, and why not end life all the sooner if this vision of God is true
(34.9-12)? He answers himself in the next poem, however, as he banishes
such a possibility on the evidence that love could never exist in such a
reality. What we consider to be love would actually be only be a
two-dimensional sense of "fellowship," such as animals must feel, out of
boredom or crude sensuality (35.21-24)
The many poems which follow fluctuate between faith and doubt. In

poem fifty-four Tennyson consoles himself with the thought:

"That nothing walks with aimless feet;
That not one life shall be destroyed,
Or cast as rubbish to the void,
When God hat made the pile complete" (54.5-9).
Line nine of poem fifty-four definitely assumes a plan for God's
creation, humanity, and an end goal. In the next two poems, however, he
returns to the doubts which a scientific reading of nature inspires, and
reminds himself that though nature is "So careful of the type" (55.7),
she is yet "careless of the single life" (55.8). This notion of
survival of the fittest is extremely disconcerting to Tennyson. He
notices in poem fifty-six the even more alarming fact that many species
have passed into oblivion, and that humans could very well follow in
their footsteps. This is the mechanistic "Nature, red in tooth and
claw," (56.15) whose existence seemed beyond a care of human lives and
human needs. No longer were men God's chosen and beloved, but, on the
contrary, they seemed no more noble than the countless scores of other
life which had roamed the planet and passed into extinction. Tennyson
writes:
"O life as futile, then as frail!
O for thy voice to soothe and bless!
What hope of answer, or redress?
Behind the veil, behind the veil" (56.25-28).
He feels, here, all too well the possibility of our own cosmic
insignificance.
The one hope that remains for Tennyson lives in the thought that
evolution might actually be God's divine plan for humanity. If we have,
in fact, developed to our present state from a lower form, then who is
to say that development has ceased? Might we not be evolving ever
closer to God's image and divinity itself, leaving behind the
"Satyr-shape" (35.22) and ape-like visage of our ancestors? The fact
that we love, as Tennyson mentioned before, separates us from animals.
To support this idea, Tennyson delves into his relationship with Arthur
Hallam, a figure linking humanity's present condition to the superior
race yet to come. In poem sixty-four, Tennyson speaks of Hallam,
describing him with the words:
"And moving up from high to higher,
Becomes on Fortune's crowning slope
The pillar of a people's hope,
The center of a world's desire" (64.13-16).
In subsequent sections, he speaks of the divinity present in Hallam,
seeming to compare him at times even to Jesus, as in poem eighty-four,
where he writes, "I see thee sitting crowned with good" (84.5), and,
later, in unit eighty-seven, "...we saw / The God within him light his
face, / And seem to lift the form, and glow / In azure orbits
heavenly-wise' (87.35-37). Hallam, Tennyson suggests, would have been a
link not only between the present race and that which is to come, but
also between a world in turmoil and the God who will restore it to
peace. This notion of the division between chaotic nature and an
ordered divinity is metaphorically expressed through images of the
spirit leaving the body (47.6-7), the body, of course, being the
physical entity prone to sickness and weariness, and the spirit as the
transcendent aspect which shall someday be reunited with those in Heaven
(47.9-16).
He speaks of the coming of the "thousand years of peace" (106.28),
presumably when the higher race is realized and all institutions have
been reformed for the "common love of good" (106.24). It is not yet
time, though, for this race to find fruition. He speaks of Hallam as
"The herald of a higher race" (118.14), suggesting that his friend was
merely a glimpse of what is yet to come. Humanity must yet "Move
upward, working out the beast, And let the ape and tiger die"
(118.27-28). In other words, a nature now brutal and cold, careless of
life, will someday become, "High nature amorous of the good"
(109.10-11). These words suggest a slow process, not to be accomplished
in the life of merely one man, no matter how great he may be. Tennyson
seems comforted by the contemplation of the golden age to come, though,
saying, "And all is well, though faith and form / Be sundered in the
night of fear" (127.1-2). Through his contemplation, Tennyson seems to
have renewed his faith that nature has not been abandoned by God, though
science would have us believe it so.
Finally, after addressing these doubts raised by science, Tennyson
turns his sights to the Utilitarian attack on religion. In poem 124, he
explains that one cannot come to God through reason, but must fell
divinity. He writes:
"I found Him not in world or sun,
Or eagle's wing, or insect's eye,
Nor through the questions men may try,
The petty cobwebs we have spun" (124.4-7).
Instead, Tennyson rediscovers his faith through the emotion, saying "I
have felt" (124.16). This statement harkens back to the passages in
which Tennyson speaks of love as the convincing factor that we are not
alone, for without God, love would be an excessive and unnecessary
dimension, and thus would have no reason to exist at all in a
mechanistic universe.. His love for Hallam, and the hope that they will
someday meet again, is thus the tie which holds Tennyson to his faith.
Through Hallam, whom Tennyson says, "O'erlook'st the tumult for afar"
(127.19), he knows "all is well" (127.20).
With the epilogue, the private, intellectual wars of In Memoriam
conclude peacefully. Tennyson describes the wedding day of his sister
and suggests that the child resulting from the union will be yet "a
closer link / Betwixt us and the crowning race...No longer half-akin to
brute" (127-28, 133).

A Critical Analysis of Shakespeare

ÐÏà¡±á��>��þÿ ��0��2��þÿÿÿ��/��ÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿì¥Á�M ��ð¿��"��bjbjâ=â=�� ",��€W��€W�� ÿÿ��ÿÿ��ÿÿ��l��†��†��†��†��†��†��†��š��´��´��´��8��ì��ø��$��š��Û��ö��(��(��(��(��(��(��(��(��Z��\��\��\��\��\��\��$��Ñ�� ñ��€��†��(��(��(��(��(��€��D��†��†��(��(��•��D��D��D��(��†��(��†��(��Z��D��(��Z��D��D��Z��†��†��Z��(��À'hPÞÄš��´��(��Z��Z��«��0��Û��Z��D��Z��D��š��š��†��†��†��†��Ù�� A Critical Analysis of Shakespeare's Hamlet Dave Beaston Hamlet. Is he an insane madman or a revengeful, scheming, genius? There are many conflicting ideas and theories on this subject, and hopefully this paper may be of some assistance in clearing up the confusion. The paper is divided into three separate analytic sections beginning with the beginning of Hamlet's so called madness, and why it may have occurred. Next, is an analysis of why Hamlet delays revenging his father's death. To conclude the paper, Hamlet's incestuous acts towards his mother are discussed, in William Shakespeare's Hamlet. In the first act Hamlet seems to be in a perfectly sane state of mind throughout all five scenes. It is in the second scene where the audience begins to see a change in his character. Ophelia meets with Polonius and recalls the meeting she had previously with Hamlet. She tells her father that Hamlet came to her disheveled and in a shaken state of mind, speaking of "horrors." (Act 2 Scene 2 line 94). Her father immediately believes that he is "Mad for thy love?" (Act 2 Scene 2 line 95). Opelia answers a question posed by Polonius by which she replied that she had told Hamlet that she could not see or communicate with him any more. Her father makes reference to Hamlet's madness once again by proclaiming that what his daughter said, "... hath made him (Hamlet) mad." (Act 2 Scene 2 line 123). The argument of whether Hamlet is insane because of his love for Ophelia is often debated, but a more confusing and complex situation is the struggle within Hamlet's mind. His personal struggle is revealed to the audience in scene one of the third act. In this scene Hamlet recites his famous "To be or not to be- that is the question:" (Act 3 Scene 1 line 64) speech. Here the the audience truly realizes that Hamlet is torn two ways in his life. To be or not to be, essentially is Hamlet debating on whether he should toil the pains of living in such a harsh world and fight to avenge his father's murder or take his own life. Hamlet is confused as to whether he should avenge his father's death when he himself, as Sigmund Freud's "Oedipus Rex Complex" suggests, wished to murder his father to gain all of his mother's attention. But, in the back of Hamlet's mind, which keeps him in constant turmoil, is his loyalty to his family and moreover his father. Hamlet, in act four scene two, meets with Rosencrantz and Guildenstern and he seems to be breaking down into insanity. Hamlet had just killed Polonius, and his two friends were questioning him as to where he placed the body of the dead man. The strange thing about this scene is that Hamlet seems to play with Rosencrantz and Guildenstern and does not give them a straight answer. Hamlet has practically transformed into a different person and doesn't seem to be completely sane. Next is another situation that cannot be totally explained. The situation being Hamlet's delays in avenging his father's death. The first that Hamlet learns of his father's death is in act one scene five, where he follows the ghost. Hamlet is told, by the ghost, that he (the ghost) is the soul of Hamlet's father, and that he was murdered by Claudius. This all took place at the beginning of the play and Hamlet waited until the end of the play to get revenge for his father's murder. Then again there are different perspectives as to whether Hamlet waited until the end to actually gain revenge. For within the play there are many insinuations that Hamlet tortured Claudius all the way up until he killed the king. Two instances are particularly evident. First, the play within a play confirms that Claudius was the murderer of Hamlet's father. Hamlet stages the Murder of Gonzago in which the actor who is playing the part of the king is murdered in the same manner that Claudius killed Hamlet's father. At the moment that the actor playing the part of the king is killed Claudius leaps from his seat and rushes out of the theater infuriated. This violent action by the king overjoys Hamlet for now he knows that it was Claudius who murdered his father. More than the fact that he knows that Claudius is the murderer, Hamlet is slowly and painfully gaining his revenge of his fathers death. The other instance where Hamlet could have killed Claudius was in act three scene three. In this particular scene Hamlet comes upon Claudius while he is knelt in prayer. Hamlet draws his sword and intends to kill Claudius there in prayer but then decides to wait. Hamlet comes to the conclusion that he should wait until Claudius is commuting a sin so he will go to hell, as opposed to killing him in prayer where he would then go to heaven. This is another example as to why Hamlet procrastinates revenging his father's death. The obvious reason Hamlet waits is to bring more than just the pain of his sword to Claudius and torture him until the end. Finally, Hamlet's sexual attraction towards his mother is to be discussed. In act three scene four, Hamlet enters his mothers bedroom at her wish and first kills Polonius, then proceeds to make love to his mother. This action is called the "Oedipus Rex Complex", which was invented by Sigmund Freud on the basis of Oedipus the epic poem by Sophocles. This theory states that all young men wish to destroy their fathers so that their mother's attention will be guided on them solely. Also the fact that Hamlet thought that Polonius was Claudius adds to the evidence that Hamlet had the "Oedipus Complex". Hamlet was obsessed with his mother but before the situation in the bedroom escalated his father, the ghost, appeared and reminded him of the plight which he was supposed to be accomplishing. Hamlet's madness at times is justified and at other times is pure insanity. At first Hamlet seems to be going mad over the fact that he is not allowed to see Ophelia. Then it seems that the fact that he is overwhelmed with his father's death, and begins to fight with himself over the thought of suicide. He is then determined to gain revenge for his father and goes about torturing Claudius in a systematic and genius manner. Finally, Hamlet is caught up in his love for his mother which brings him back to the point of insanity. In conclusion Hamlet is torn between two worlds, that of the sane and well and that of the crazed and insane. ��"��ý��^J��-��.��<��=��Œ��Ø��$��r��Â��T��j��µ��U��¤��ó��>��Ž��ß��0 �� – ��ç ��8
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A Critical Analysis of Revelation by Flannery OConnor

A Critical Analysis of "Revelation"
by Flannery O'Connor
Flannery O'Connor's background influenced her to write the short
story "Revelation." One important influence on the story is her Southern
upbringing. During her lifetime, Southerners were very prejudiced towards
people of other races and lifestyles. They believed that people who were less
fortunate were inferior to them; therefore, people were labeled as different
things and placed into different social classes. The South provided O'Connor
with the images she needed for her characters. Similarly, this can easily be
identified in her short story "Revelation." The characters in the story are
identified by physical characteristics and some are even identified with racial
terms. The main character in the story is actually prejudiced and makes many
statements using racial jargon. For example, Mrs. Turpin, the main character,
refers to the higher class woman as "well-dressed and pleasant". She also
labels the teenage girl as "ugly" and the poor woman as "white-trashy".
When Mrs. Turpin converse with her black workers, she often uses the word
"nigger" in her thoughts. These characteristics she gives her characters
definitely reveals the Southern lifestyle which the author, Flannery O'Connor,
was a part of. In addition to her Southern upbringing, another influence on
the story is Flannery O'Connor's illness. She battled with the lupus disease
which has caused her to use a degree of violence and anger to make her
stories somewhat unhappy. The illness caused a sadness inside of Flannery
O'Connor, and that inner sadness flowed from her body to her paper through
her pen. Although she was sick, O'Connor still felt proud to be who she was.
By comparison, Mrs. Turpin in "Revelation" has a good disposition about
herself. She is far from perfect, yet she is happy to be who she is. Perhaps
the most important influence on the story is religion. In the words of Robert
McCown, O'Connor's writing was mainly generated by a most powerful
Christianity which was fed by her Catholic background (McCown, 256).
O'Connor was not only influenced by her own Catholic heritage but by others
as well. Like the other writers from France and England, she is curious about
the actuality of sin and the effect that it has on the presence of mankind. Her
stories and every characteristic about them was Flannery O'Connor's way of
showing reality and qualities that are determiners of fate and destiny. No
matter which path her stories took her readers, they mostly ended up finding
social truth. This background, together with a believable plot, convincing
characterization, and important literary devices enables Flannery O'Connor in
"Revelation" to develop the theme that sometimes people must look farther
than the surface in order to understand the actions of others.
To develop this theme, O'Connor creates a believable plot by using a
social conflict, the element of surprise, and an unhappy ending. The main
social conflict that appears in this story is not determined until a good portion
of the story has passed. There are, however, incidents that build up to the
actual conflict. The story "Revelation" has a major and a minor social
conflict. The minor conflict is between Mrs. Turpin and a white-trash
woman. This conflict is born because Mrs. Turpin believes she is in a higher
class than the white-trash woman. The white-trash woman is unintelligent
and uneducated, and Mrs. Turpin is repulsed when she speaks and interrupts
her conversation with someone else. The major social conflict is between
Mrs. Turpin and a teenage girl across from her. This conflict is built up over
the course of the story through rude gestures and facial expressions given by
the teenage girl. For instance, Mrs. Turpin makes a comment about a clock.
The girl looks at the clock and smirks which was followed by another smirk
toward Mrs. Turpin. Mrs. Turpin also acknowledges a look the girl gives her
as the "ugliest face she has ever seen anyone make" (O'Connor, 394). It was
like the girl has known and disliked Mrs. Turpin all her life. Another element
of plot which reinforces the theme of "Revelation", is the element of surprise
which actually brings the main conflict out in the open. O'Connor brings the
conflict out well because the incidents that built up to the actual conflict do
not give away what is going to happen. The action around the conflict is
completely surprising and unpredictable. We are aware the girl dislikes Mrs.
Turpin because of her previous actions. The girl never does anything other
than give dirty looks; therefore, we are not expecting any type of physical
violence between them. When the girl hits Mrs. Turpin in the face with the
book, Mrs. Turpin is conversing with another character and is not talking to
the girl. In this situation, a violent act by the girl is completely unpredictable.
Also, O'Connor uses an unhappy ending for this story. Mrs. Turpin, who is
happy being who she is, does not understand why the girl hated her. She
does not think she is a bad person, and she cannot comprehend why she is
not liked. O'Connor ends the story with Mrs. Turpin's questions unanswered
which leaves her with a sadness that is unsolvable. Through the use of social
conflict, the element of surprise, and an unhappy ending, a believable plot is
created.
To further develop the theme, O'Connor uses consistent behavior, clear
motivation, and plausibility to create convincing characterization. The
protagonist, Mrs. Turpin, is convincing because she consistently curious and
involved in conversation. She is also consistently observant of the other
characters. Over the course of the story, Mrs. Turpin does not change;
therefore, she is a static character. O'Connor's characters are victimized and
are images of lower intelligence. Mrs. Turpin, however, does appear to be of
average intelligence. Her behavior in the story mirrors the Southern image
given to her by O'Connor. In the beginning of "Revelation," Mrs. Turpin is
a polite and outgoing individual, and these are characteristics that remain with
her. In addition to consistent behavior, Mrs. Turpin is convincing because
she is mainly motivated by her insecurity. Her motivation for appearing at the
doctor's office is clearly because her husband is injured. She also feels a
need to observe the other patients so she can draw conclusions as to why they
are there. Mrs. Turpin is a friendly and curious woman which explains her
continuous conversations with anyone who will listen. Even though she
notices the hatred given off by the teenage girl, she continues to act ignorant
of it. A possible motivation for her continued talking could be that she is
deterring from a confrontation. Another characteristic of Mrs. Turpin is her
plausibility. In this story, she is very plausible because her personality and
characteristics model those of a lifelike person. She is curious and observant
just like everyone else and she also enjoys a friendly conversation. O'Connor
makes Mrs. Turpin an average Southern citizen with an average Southern
attitude. With these characteristics given to her, Mrs. Turpin has become a
plausible protagonist in the story "Revelation." Through consistent behavior,
clear motivation, and plausibility, convincing characterization of the
protagonist is developed by O'Connor.
O'Connor's use of important literary devices such as symbolism and
foreshadowing allow her to reinforce the theme. Many think of O'Connor's
writing as humorous. In most of her stories, she uses a technique that is, for
the most part, comic. Humor is one way O'Connor masks what she is
actually trying to say. She was considered a tragic ironist which wasn't
understood by some people. O'Connor's stories also include much
symbolism like in her story "Revelation." In this story, there are several
points of symbolism. The teenage girl extremely dislikes Mrs. Turpin from
the beginning of the story to the end of the story. Her dislike grows
throughout the story and then erupts like a volcano. When her anger erupts,
she throws a book at Mrs. Turpin. This book symbolizes her hatred toward
Mrs. Turpin. It symbolizes her hatred because in a book, the plot develops
and builds up over the course of the book. This is exactly what her anger did
toward Mrs. Turpin. The book is not the only symbolism in "Revelation." In
the doctor's office, there are several types of people. These different types of
people symbolize the different types of social classes. For example, the
white-trashy woman represents the lowest class with uneducated intelligence,
the well-dressed woman represents a class of higher standards and
intelligence along with an educated background, and Mrs. Turpin represents a
middle, working class with average intelligence and educated background.
Another literary device O'Connor uses is foreshadowing. The facial
expressions and actions of the girl show a conflict between her and Mrs.
Turpin. Specifically, the smirks given toward Mrs. Turpin and the grunts
made when Mrs. Turpin speaks were the rude gestures from the teenage girl.
The increase of these rude gestures foreshadows a confrontation between the
two, but the actual time of the confrontation is unclear. In conclusion,
symbolism and foreshadowing are two important literary devices used by
O'Connor in "Revelation."
After analyzing how the author's background, the plot, and the literary
devices contribute to the development of the theme of "Revelation", one
understands why this story rates high on the literary scale of value.
"Revelation" was a doorway for Flannery O'Connor. She used this doorway
to reveal her beliefs and disbeliefs about mankind and the mysteries that it
beholds. O'Connor was influenced many ways throughout her lifetime and it
was her writing that helped her deal with the problems she faced and the
things she believed in. "Revelation" was just one of her many stories that
served as a translator of her past. It was through this story that O'Connor
revealed her outlook on prejudice and the effects that some people had on the
human race. O'Connor achieved her purpose because she successfully
portrayed her characters in the manner most suitable to convince her readers.
O'Connor needed to express her concern and curiosity toward life and death,
mainly death. She might have also been looking for a way to cope with death
by writing her stories. "Revelation" was her way of suppressing her anger
toward people of lower standards. She suppressed her anger by writing what
she thought about them; therefore, releasing herself from the anger she felt.
She was a Southern writer, and from this writing habit she rec

A Critical Analysis of Revelation by Flannery OConnor again

ÐÏà¡±á��>��þÿ ��=��?��þÿÿÿ��<��ÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿì¥Á�M ��ð¿��.��bjbjâ=â=�� "@��€W��€W��*�� ÿÿ��ÿÿ��ÿÿ��l��†��†��†��†��†��†��†��š��l��l��l��8��¤��°��4��š��1��ö��ð��ð��ð��ð��ð��ð��ð��ð��°��²��²��²��²��²��²��$��'�� G��ª��Ö��†��ð��ð��ð��ð��ð��Ö��L��†��†��ð��ð��ë��L��L��L��ð��@��†��ð��†��ð��°��L��ð��°��L��d��L��°��†��†��°��ð��ä��À«©JPÞÄš��Ò��l��0��°��°��0��1��°��ñ��L��ñ��°��L��š��š��†��†��†��†��Ù�� A Critical Analysis of "Revelation" by Flannery O'Connor Flannery O'Connor's background influenced her to write the short story " Revelation." One important influence on the story is her Southern upbringing. During her lifetime, Southerners were very prejudiced towards people of other races and lifestyles. They believed that people who were less fortunate were inferior to them; therefore, people were labeled as different things and placed into different social classes. The South provided O'Connor with the images she needed for her characters. Similarly, this can easily be identified in her short story "Revelation." The characters in the story are identified by physical characteristics and some are even identified with racial terms. The main character in the story is actually prejudiced and makes many statements using racial jargon. For example, Mrs. Turpin, the main character, refers to the higher class woman as "well-dressed and pleasant". She also labels the teenage girl as "ugly" and the poor woman as "white-trashy". When Mrs. Turpin converse with her black workers, she often uses the word "nigger" in her thoughts. These characteristics she gives her characters definitely reveals the Southern lifestyle which the author, Flannery O'Connor, was a part of. In addition to her Southern upbringing, another influence on the story is Flannery O'Connor's illness. She battled with the lupus disease which has caused her to use a degree of violence and anger to make her stories somewhat unhappy. The illness caused a sadness inside of Flannery O'Connor, and that inner sadness flowed from her body to her paper through her pen. Although she was sick, O'Connor still felt proud to be who she was. By comparison, Mrs. Turpin in " Revelation" has a good disposition about herself. She is far from perfect, yet she is happy to be who she is. Perhaps the most important influence on the story is religion. In the words of Robert McCown, O'Connor's writing was mainly generated by a most powerful Christianity which was fed by her Catholic background (McCown, 256). O'Connor was not only influenced by her own Catholic heritage but by others as well. Like the other writers from France and England, she is curious about the actuality of sin and the effect that it has on the presence of mankind. Her stories and every characteristic about them was Flannery O'Connor's way of showing reality and qualities that are determiners of fate and destiny. No matter which path her stories took her readers, they mostly ended up finding social truth. This background, together with a believable plot, convincing characterization, and important literary devices enables Flannery O'Connor in "Revelation" to develop the theme that sometimes people must look farther than the surface in order to understand the actions of others. To develop this theme, O'Connor creates a believable plot by using a social conflict, the element of surprise, and an unhappy ending. The main social conflict that appears in this story is not determined until a good portion of the story has passed. There are, however, incidents that build up to the actual conflict. The story "Revelation" has a major and a minor social conflict. The minor conflict is between Mrs. Turpin and a white-trash woman. This conflict is born because Mrs. Turpin believes she is in a higher class than the white-trash woman. The white-trash woman is unintelligent and uneducated, and Mrs. Turpin is repulsed when she speaks and interrupts her conversation with someone else. The major social conflict is between Mrs. Turpin and a teenage girl across from her. This conflict is built up over the course of the story through rude gestures and facial expressions given by the teenage girl. For instance, Mrs. Turpin makes a comment about a clock. The girl looks at the clock and smirks which was followed by another smirk toward Mrs. Turpin. Mrs. Turpin also acknowledges a look the girl gives her as the "ugliest face she has ever seen anyone make" (O'Connor, 394). It was like the girl has known and disliked Mrs. Turpin all her life. Another element of plot which reinforces the theme of "Revelation", is the element of surprise which actually brings the main conflict out in the open. O'Connor brings the conflict out well because the incidents that built up to the actual conflict do not give away what is going to happen. The action around the conflict is completely surprising and unpredictable. We are aware the girl dislikes Mrs. Turpin because of her previous actions. The girl never does anything other than give dirty looks; therefore, we are not expecting any type of physical violence between them. When the girl hits Mrs. Turpin in the face with the book, Mrs. Turpin is conversing with another character and is not talking to the girl. In this situation, a violent act by the girl is completely unpredictable. Also, O'Connor uses an unhappy ending for this story. Mrs. Turpin, who is happy being who she is, does not understand why the girl hated her. She does not think she is a bad person, and she cannot comprehend why she is not liked. O'Connor ends the story with Mrs. Turpin's questions unanswered which leaves her with a sadness that is unsolvable. Through the use of social conflict, the element of surprise, and an unhappy ending, a believable plot is created. To further develop the theme, O'Connor uses consistent behavior, clear motivation, and plausibility to create convincing characterization. The protagonist, Mrs. Turpin, is convincing because she consistently curious and involved in conversation. She is also consistently observant of the other characters. Over the course of the story, Mrs. Turpin does not change; therefore, she is a static character. O'Connor's characters are victimized and are images of lower intelligence. Mrs. Turpin, however, does appear to be of average intelligence. Her behavior in the story mirrors the Southern image given to her by O'Connor. In the beginning of "Revelation," Mrs. Turpin is a polite and outgoing individual, and these are characteristics that remain with her. In addition to consistent behavior, Mrs. Turpin is convincing because she is mainly motivated by her insecurity. Her motivation for appearing at the doctor's office is clearly because her husband is injured. She also feels a need to observe the other patients so she can draw conclusions as to why they are there. Mrs. Turpin is a friendly and curious woman which explains her continuous conversations with anyone who will listen. Even though she notices the hatred given off by the teenage girl, she continues to act ignorant of it. A possible motivation for her continued talking could be that she is deterring from a confrontation. Another characteristic of Mrs. Turpin is her plausibility. In this story, she is very plausible because her personality and characteristics model those of a lifelike person. She is curious and observant just like everyone else and she also enjoys a friendly conversation. O'Connor makes Mrs. Turpin an average Southern citizen with an average Southern attitude. With these characteristics given to her, Mrs. Turpin has become a plausible protagonist in the story "Revelation." Through consistent behavior, clear motivation, and plausibility, convincing characterization of the protagonist is developed by O'Connor. O'Connor's use of important literary devices such as symbolism and foreshadowing allow her to reinforce the theme. Many think of O'Connor's writing as humorous. In most of her stories, she uses a technique that is, for the most part, comic. Humor is one way O'Connor masks what she is actually trying to say. She was considered a tragic ironist which wasn't understood by some people. O'Connor's stories also include much symbolism like in her story " Revelation." In this story, there are several points of symbolism. The teenage girl extremely dislikes Mrs. Turpin from the beginning of the story to the end of the story. Her dislike grows throughout the story and then erupts like a volcano. When her anger erupts, she throws a book at Mrs. Turpin. This book symbolizes her hatred toward Mrs. Turpin. It symbolizes her hatred because in a book, the plot develops and builds up over the course of the book. This is exactly what her anger did toward Mrs. Turpin. The book is not the only symbolism in "Revelation." In the doctor's office, there are several types of people. These different types of people symbolize the different types of social classes. For example, the white-trashy woman represents the lowest class with uneducated intelligence, the well-dressed woman represents a class of higher standards and intelligence along with an educated background, and Mrs. Turpin represents a middle, working class with average intelligence and educated background. Another literary device O'Connor uses is foreshadowing. The facial expressions and actions of the girl show a conflict between her and Mrs. Turpin. Specifically, the smirks given toward Mrs. Turpin and the grunts made when Mrs. Turpin speaks were the rude gestures from the teenage girl. The increase of these rude gestures foreshadows a confrontation between the two, but the actual time of the confrontation is unclear. In conclusion, symbolism and foreshadowing are two important literary devices used by O'Connor in " Revelation." After analyzing how the author's background, the plot, and the literary devices contribute to the development of the theme of "Revelation", one understands why this story rates high on the literary scale of value. " Revelation" was a doorway for Flannery O'Connor. She used this doorway to reveal her beliefs and disbeliefs about mankind and the mysteries that it beholds. O'Connor was influenced many ways throughout her lifetime and it was her writing that helped her deal with the problems she faced and the things she believed in. "Revelation" was just one of her many stories that served as a translator of her past. It was through this story that O'Connor revealed her outlook on prejudice and the effects that some people had on the human race. O'Connor achieved her purpose because she successfully portrayed her characters in the manner most suitable to convince her readers. O'Connor needed to express her concern and curiosity toward life and death, mainly death. She might have also been looking for a way to cope with death by writing her stories. " Revelation" was her way of suppressing her anger toward people of lower standards. She suppressed her anger by writing what she thought about them; therefore, releasing herself from the anger she felt. She was a Southern writer, and from this writing habit she rec ��.��.��ý��^J��:��;��<��†��Õ��#��q��Á��]��¦��ô��A��Û��)��r��Ã�� ^ ��® ��ü ��I
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