- we should read Heart of Darkness for ourselves because we can come to different conclusions in different works, and by taking someone's word or interpretation without reading it ourselves, we are deprived.
- critics have called the book names such as "racist" and "sexist." if we mantain the theory or actions of "witness to a witness" as is mentioned above, then we can not read Heart of Darkness without ourselves being labeled such names.
- Heart of Darkness "invites reading as literature" in two ways: one, Conrad himself is completely displaced from the story, and two, the simile is used quite often to create layers of veils within the story that must be lifted one by one.
-Heart of Darkness is a book of irony, and interestingly enough, irony is "infinate absolute negativity." (this observation puts a whole new twist to the comments made by the critics above)
- the personification of darkness is a catachrestic prosopopoeia: darkness is given an identity despite the fact that is is more inanimate and names something that is incapable of being named. this is most commonly used in connection to the wilderness and is connected through to the Africans, each of whom acts as a representation of that wilderness.
Monday, November 17, 2008
Wednesday, November 5, 2008
Closure in the Sound and the Fury
An essential symbol of closure in the Sound and the Fury is the date: Easter Sunday and the fact that it is told by Dilsy. Easter is symbol of rebirth and in this case that rebirth brings closure. It is on this day that Miss Quentin runs away, and officially rids the house of any physical reminder of Caddy and her disgrace. In so doing, she brings about a new beginning. It is significant that Dilsy narrates this final section. Dilsy is the glue that holds the family together. She is the cause of hope and a symbol of faith and unconditional love, as can be clearly seen in her love and tenderness towards Miss Quentin despite Quentin's overt rudeness in return. That Dilsy is the symbol of this love coincides perfectly with Easter day. Easter celebrates the resurrection of Jesus and reminds us that he died and rose for our sins because he loves us unconditionally. Throughout this final section, Dilsy often comments on having seen the first and the last. This is also very biblical, but also can be interpreted as her having seen the departure of the first and the last of the Compson children. Dilsy is a constant presence in the Compson household and in the end she alone remains to have witnessed the whole story. 1Corinthinans 13:13 reads: "In the end there are three things that last: Faith, Hope, and Love, and the greatest of these is Love." It is interesting that Dilsy should symbolize all three things and last until the end.
Word Count: 258
Monday, October 27, 2008
The Sound and the Fury: An Image of Eden
The edenic story within The Sound and the Fury is an integral image. This biblical symbol is found and expanded on in a few different aspects of the memories, particularly centering around the day of Damuddy's death. Faulkner does not simply concentrate on the fall into sin, but also, as Mary Dell Fletcher puts it in "Edenic Images In The Sound and the Fury", "a falling into knowledge."
Benjy is Faulkner's Adam. He is the epitome of innocence. Though this innocence, Fletcher argues, because of his lack of free will or even of knowledge of good and evil. These concepts are explored through the concept of time. Benjy's memories are not separated into different time periods. They not distinct from one another, but are rather mixed together into a single, expanded memory. While Benjy certainly in certainly a beautiful model of innocence, Fletcher fails to acknowledge and discuss his reaction to Caddy on the night when she will not wash herself. In this case, Benjy has fallen in to knowledge, but lacks understanding of that knowledge. He knows that Caddy is different , but doesn't understand exactly why, or why she can't fix it.
Caddy's fall from grace is the central story within The Sound and the Fury. The edenic image is most obviously shown in the scene of the night of Damuddy's death. This scene clearly foreshadows her future sinful acts and choices. On page 58, as Caddy attempts to climb the tree (a fruit tree) in order to see the funeral, Versh says, " Your paw told you to stay out that tree." Caddy responds, "That was a long time ago. . . I expect he's forgotten about it. "The story of Eve's disobedience could not be more clear in this moment. Also like Eve, Fletcher points out, as Caddy peers down into Damuddy's funeral, she sees death, but can not understand its immediate meaning. Furthermore, this scene particularly notes the stain on Caddy's undergarments. This stain symbolizes both the sin and the "inclination to sin", which Caddy's future acts demonstrate.
Finally, this scene examines not only the significance of these acts and images on the characters present, but also on the future generations. Caddy's climb into the tree is a fabulous foreshadowing of her daughter's decent from that same tree; signifying the effect of one choice--one sin-- on many people both in the present and in the future; just as Eve's choice stained each person with original sin, effecting each generation to come.
Word Count: 416
Benjy is Faulkner's Adam. He is the epitome of innocence. Though this innocence, Fletcher argues, because of his lack of free will or even of knowledge of good and evil. These concepts are explored through the concept of time. Benjy's memories are not separated into different time periods. They not distinct from one another, but are rather mixed together into a single, expanded memory. While Benjy certainly in certainly a beautiful model of innocence, Fletcher fails to acknowledge and discuss his reaction to Caddy on the night when she will not wash herself. In this case, Benjy has fallen in to knowledge, but lacks understanding of that knowledge. He knows that Caddy is different , but doesn't understand exactly why, or why she can't fix it.
Caddy's fall from grace is the central story within The Sound and the Fury. The edenic image is most obviously shown in the scene of the night of Damuddy's death. This scene clearly foreshadows her future sinful acts and choices. On page 58, as Caddy attempts to climb the tree (a fruit tree) in order to see the funeral, Versh says, " Your paw told you to stay out that tree." Caddy responds, "That was a long time ago. . . I expect he's forgotten about it. "The story of Eve's disobedience could not be more clear in this moment. Also like Eve, Fletcher points out, as Caddy peers down into Damuddy's funeral, she sees death, but can not understand its immediate meaning. Furthermore, this scene particularly notes the stain on Caddy's undergarments. This stain symbolizes both the sin and the "inclination to sin", which Caddy's future acts demonstrate.
Finally, this scene examines not only the significance of these acts and images on the characters present, but also on the future generations. Caddy's climb into the tree is a fabulous foreshadowing of her daughter's decent from that same tree; signifying the effect of one choice--one sin-- on many people both in the present and in the future; just as Eve's choice stained each person with original sin, effecting each generation to come.
Word Count: 416
Monday, September 29, 2008
The Yellow Wallpaper
Charlotte Perkins Gilman's "The Yellow Wallpaper" is psychologically fascinating, disturbing, and pitiful. It is written in the form of journal entries by a woman whose name is never revealed, and who, despite the fact that she is undergoing treatment for her "nervous condition" (24), seems to only sink deeper into insanity, which is symbolically portrayed in the wallpaper of her so-called room. But does the wallpaper reflect her insanity, or does it reflect an insanity born of oppression and lack of understanding?
The writer herself demonstrates, through her writing, an unstable mind in her seemingly radical mood-swings. She goes from not liking the wallpaper, to becoming strangely attached to it, to despising it, to infatuation with it. She talks of wanting to get out of the house, only to explain a page or so later that she simply can't stand to think of leaving before she figures out the lanes on the wallpaper. However, all things aside, she simply seems lonely and bored, though certainly on an extreme level. She is not allowed interaction with others, nor is she even allowed to write to the point where we really can't blame her for losing it! Finally, there is an oppressed and inferior way in the way she talks. This is evident from the beginning, when she states, "John laughs at me, of course, but one expects that" (5). Although his cure for her condition is a constant weight on her chest, she is completely dependent on him, and so it is this dependence on him, which she regrets not being more thankful for, that drives to the point of insanity.
It is this oppression and sense of being trapped that is demonstrated through the wallpaper. As she describes the design on the paper, her language becomes startlingly violent: ". . . and when you follow the lame uncertain curves for a little distance they suddenly commit suicide--plunge off at outrageous angles, destroy themselves in unheard-of contradictions" (33), "There is a recurrent spot where the pattern lolls like a broken neck and two bulbous eyes stare at you upside down" (64). This violent language demonstrates the narrator's trapped status more than any other detail in the short story--even the symbol of the woman behind the wallpaper, which ultimately represents her. It shows us that she feels to oppressed inside herself that the only way out is a violent way, as she finally succumbs to in the end. This chaotic wallpaper design acts as a backdrop to the obvious clues as to the woman's situation in the journal entries. For example, as she talks of the contradictions within the wallpaper, she is reiterating the contradictions, mentioned above, taking place in her mind that are carried out through her emotional journal entries; so that, the wallpaper does not simply represent insanity, but the path to that insanity, and the elements that play significant roles on that path.
Word Count: 486
The writer herself demonstrates, through her writing, an unstable mind in her seemingly radical mood-swings. She goes from not liking the wallpaper, to becoming strangely attached to it, to despising it, to infatuation with it. She talks of wanting to get out of the house, only to explain a page or so later that she simply can't stand to think of leaving before she figures out the lanes on the wallpaper. However, all things aside, she simply seems lonely and bored, though certainly on an extreme level. She is not allowed interaction with others, nor is she even allowed to write to the point where we really can't blame her for losing it! Finally, there is an oppressed and inferior way in the way she talks. This is evident from the beginning, when she states, "John laughs at me, of course, but one expects that" (5). Although his cure for her condition is a constant weight on her chest, she is completely dependent on him, and so it is this dependence on him, which she regrets not being more thankful for, that drives to the point of insanity.
It is this oppression and sense of being trapped that is demonstrated through the wallpaper. As she describes the design on the paper, her language becomes startlingly violent: ". . . and when you follow the lame uncertain curves for a little distance they suddenly commit suicide--plunge off at outrageous angles, destroy themselves in unheard-of contradictions" (33), "There is a recurrent spot where the pattern lolls like a broken neck and two bulbous eyes stare at you upside down" (64). This violent language demonstrates the narrator's trapped status more than any other detail in the short story--even the symbol of the woman behind the wallpaper, which ultimately represents her. It shows us that she feels to oppressed inside herself that the only way out is a violent way, as she finally succumbs to in the end. This chaotic wallpaper design acts as a backdrop to the obvious clues as to the woman's situation in the journal entries. For example, as she talks of the contradictions within the wallpaper, she is reiterating the contradictions, mentioned above, taking place in her mind that are carried out through her emotional journal entries; so that, the wallpaper does not simply represent insanity, but the path to that insanity, and the elements that play significant roles on that path.
Word Count: 486
Wednesday, September 17, 2008
The Misfit: A Contradiction of Character
Mary Flannery O'Connor's "A Good Man Is Hard to Find" leaves the reader with a plethora of questions, emotions, contradictions, and insights. The most of these disturbing being the complex essence and utterly mind-blowing actions of the character, The Misfit. This single man appears to hold two completely opposite personalities, one that is almost that of a gentleman, and a second that is spiritually tormented.
It is a great irony indeed that the first kind words specifically directed towards the grandmother come from this particular man after her own son speaks so rudely to her: "don't you get upset. Sometimes a man says things he don't mean. I don't reckon he meant to talk to you that way" (86). Furthermore, it is carefully illustrated within the text multiple times that he is embarrassed by the present situation; first by his awkward attempt at a conversation and secondly by lacking of a shirt in the presence of the ladies. The Misfit speaks quite naturally with the family and appears to converse especially with the grandmother in thoughtful indifference, even considering her somewhat panicked observations of himself. It is through this conversation that his second person revealed.
The slow revelation pertaining to The Misfit has a few different levels. The first of these simply seems to be some sort of resignation. He seems quite sane when he observes, "I ain't a good man. . . but I ain't the worst in the world either" (100). The second stage is recollection. He tells the grandmother his story, or at least what he can remember of fit. The fact that he has, or at least claims to have, no knowledge as to the reasons he was in jail in the first place is the first solid sign within the conversation that he could be unstable. Finally, the third stage is religion. The effect on The Misfit as his conversation with the grandmother becomes increasingly focused this subject is astounding. What was at first an annoyance to The Misfit soon becomes an unstable defiance and an open demonstration of his delicate second self. It is his extreme and violent reaction to the grandmother's pity that is most shocking and that demonstrates the level of broken spirituality that The Misfit has transitioned into: "She reached out and touched him on the shoulder. The Misfit sprang back as if a snake had bitten him and shot her three times through the chest" (137). What triggered this reaction? At this point in the story, perhaps it is that he has sunken so deeply into darkness, that he can't stand the comforting touch of light; however, this one of several various possibilities.
Despite the analysis of The Misfit's duel personality, in the end, the reader is left with more questions than answers. if it is accepted that The Misfit has multiple personalities, is it fair to conclude that his actions are based solely on the random intervals of his personalities? Does he have a conscience? Does he have the mental capacity to plan ahead? It is hinted at that he can, and perhaps did, plan these murders when he states that he and his two assistants saw the car crash. This is an especially interesting detail considering that it occurred on an empty dirt road that appeared not to have been used for several years. Yet, his completely casual approach to the murders, especially in the way that he can so easily carry on a conversation despite the gunshots, suggests that either he is inherently evil, which does not seem to fit his first personality, or that he does not have an active conscience. Finally, in one of many conclusions, perhaps it is that first personality in contrast to the second one that clearly displays the level of The Misfit's pure darkness.
What about the spiritual aspect of the Misfit. What did he represent spiritually? Did he merely represent it or did he become it?
What did the Misfit mean when he said, "She would have been a good woman if it had been somebody there to shoot her every minute of her life"?
What did you think of the treatment the grandmother received from her own family?
It is a great irony indeed that the first kind words specifically directed towards the grandmother come from this particular man after her own son speaks so rudely to her: "don't you get upset. Sometimes a man says things he don't mean. I don't reckon he meant to talk to you that way" (86). Furthermore, it is carefully illustrated within the text multiple times that he is embarrassed by the present situation; first by his awkward attempt at a conversation and secondly by lacking of a shirt in the presence of the ladies. The Misfit speaks quite naturally with the family and appears to converse especially with the grandmother in thoughtful indifference, even considering her somewhat panicked observations of himself. It is through this conversation that his second person revealed.
The slow revelation pertaining to The Misfit has a few different levels. The first of these simply seems to be some sort of resignation. He seems quite sane when he observes, "I ain't a good man. . . but I ain't the worst in the world either" (100). The second stage is recollection. He tells the grandmother his story, or at least what he can remember of fit. The fact that he has, or at least claims to have, no knowledge as to the reasons he was in jail in the first place is the first solid sign within the conversation that he could be unstable. Finally, the third stage is religion. The effect on The Misfit as his conversation with the grandmother becomes increasingly focused this subject is astounding. What was at first an annoyance to The Misfit soon becomes an unstable defiance and an open demonstration of his delicate second self. It is his extreme and violent reaction to the grandmother's pity that is most shocking and that demonstrates the level of broken spirituality that The Misfit has transitioned into: "She reached out and touched him on the shoulder. The Misfit sprang back as if a snake had bitten him and shot her three times through the chest" (137). What triggered this reaction? At this point in the story, perhaps it is that he has sunken so deeply into darkness, that he can't stand the comforting touch of light; however, this one of several various possibilities.
Despite the analysis of The Misfit's duel personality, in the end, the reader is left with more questions than answers. if it is accepted that The Misfit has multiple personalities, is it fair to conclude that his actions are based solely on the random intervals of his personalities? Does he have a conscience? Does he have the mental capacity to plan ahead? It is hinted at that he can, and perhaps did, plan these murders when he states that he and his two assistants saw the car crash. This is an especially interesting detail considering that it occurred on an empty dirt road that appeared not to have been used for several years. Yet, his completely casual approach to the murders, especially in the way that he can so easily carry on a conversation despite the gunshots, suggests that either he is inherently evil, which does not seem to fit his first personality, or that he does not have an active conscience. Finally, in one of many conclusions, perhaps it is that first personality in contrast to the second one that clearly displays the level of The Misfit's pure darkness.
What about the spiritual aspect of the Misfit. What did he represent spiritually? Did he merely represent it or did he become it?
What did the Misfit mean when he said, "She would have been a good woman if it had been somebody there to shoot her every minute of her life"?
What did you think of the treatment the grandmother received from her own family?
Monday, September 15, 2008
Teenage Wasteland
The story that had the most impact on me this week in class was "Teenage Wasteland." The relationship between Donny, Daisy, and Cal is upsetting and rather complex. Each individual brings his or her own personal issues into the mix and plays out his or her feelings concerning these issues through character interactions with the other two.
Daisy grapples with her own inferiority complex and fear of failure, as is evidenced almost instantly in the way that she clutches her purse, sitting in the Principal's office like a apprehensive child, fearing punishment, rather than a concerned parent. This state of mind is farther demonstrated in Daisy's second school meeting, in which her train of thought lingers on her clothes and personal appearance rather than her child's continued misbehavior. She goes as far as to conscientiously suck in her stomach when she stands up to leave, in an attempt to throw off the assumed judgements of the Principal, but more importantly to throw off her feelings of inferiority. These beliefs show through in her parenting skills, or lack thereof. Despite the fact that she has some good instincts, Daisy fails to follow through on them. In her attempts to "save" her son, she alienates her daughter, hence, continuing the vicious cycle. She naively follows Cal's instructions concerning her son Donny, even cutting of virtually all normal communication with him; therefore, dooming the relationship. Communication is key to any relationship, and when Daisy failed to continue to at least make attempts to connect with her son, she sealed his fate.
Donny and Cal's problems are not as clean-cut as Daisy's. Donny could be rebelling because of his lacking in a father figure or lack of attention on his mother's part, but probably a little of both. Cal's character dances around his issues. It is always hinted at, but never outright said that Cal is dealing with his past on the side, and, I think, through these kids--all of whom he is supposed to be helping. I think the biggest red flag, aside from his incredibly immature and dangerous parenting instructions to Daisy, was when Donny told his mother that Cal was divorced because his wife was controlling and didn't understand him. Especially considering this particular situation, this should have been a big flashing red light to Daisy. After all, this is being said by a boy who thinks that his mother, who does absolutely no parenting, is too controlling. Hence, we come to the topic of trust. Both Donny and Cal think that Donny needs to be "given more rope" by his parents. Here's the deal: Donny has not proved himself capable of handling the responsibilities he already has nor has he proven himself trustworthy. If anything the rope should be shortened rather than lengthened. Donny is a difficult kid to discipline in the first place, but up until now he was just a whining kid shouting, "Don't you trust me?" however, Cal legitimized that stance. As soon as Cal entered the picture there was no hope of any type of discipline.
This story is upsetting and frustrating on two accounts: one, Daisy will not act out her parenting role. She needed to take control and actually make a decision. Two, this lethargy in enhanced by the awareness of the regressing plot. Rather than making progress, Donny is slowly slipping away from his family until he literally disappears into the darkness. The lack of affection, the lack of connection or communication, and even at times the cold indifference of these characters in relation to each other, is what ultimately makes this story tragic.
Word Count: 602
Daisy grapples with her own inferiority complex and fear of failure, as is evidenced almost instantly in the way that she clutches her purse, sitting in the Principal's office like a apprehensive child, fearing punishment, rather than a concerned parent. This state of mind is farther demonstrated in Daisy's second school meeting, in which her train of thought lingers on her clothes and personal appearance rather than her child's continued misbehavior. She goes as far as to conscientiously suck in her stomach when she stands up to leave, in an attempt to throw off the assumed judgements of the Principal, but more importantly to throw off her feelings of inferiority. These beliefs show through in her parenting skills, or lack thereof. Despite the fact that she has some good instincts, Daisy fails to follow through on them. In her attempts to "save" her son, she alienates her daughter, hence, continuing the vicious cycle. She naively follows Cal's instructions concerning her son Donny, even cutting of virtually all normal communication with him; therefore, dooming the relationship. Communication is key to any relationship, and when Daisy failed to continue to at least make attempts to connect with her son, she sealed his fate.
Donny and Cal's problems are not as clean-cut as Daisy's. Donny could be rebelling because of his lacking in a father figure or lack of attention on his mother's part, but probably a little of both. Cal's character dances around his issues. It is always hinted at, but never outright said that Cal is dealing with his past on the side, and, I think, through these kids--all of whom he is supposed to be helping. I think the biggest red flag, aside from his incredibly immature and dangerous parenting instructions to Daisy, was when Donny told his mother that Cal was divorced because his wife was controlling and didn't understand him. Especially considering this particular situation, this should have been a big flashing red light to Daisy. After all, this is being said by a boy who thinks that his mother, who does absolutely no parenting, is too controlling. Hence, we come to the topic of trust. Both Donny and Cal think that Donny needs to be "given more rope" by his parents. Here's the deal: Donny has not proved himself capable of handling the responsibilities he already has nor has he proven himself trustworthy. If anything the rope should be shortened rather than lengthened. Donny is a difficult kid to discipline in the first place, but up until now he was just a whining kid shouting, "Don't you trust me?" however, Cal legitimized that stance. As soon as Cal entered the picture there was no hope of any type of discipline.
This story is upsetting and frustrating on two accounts: one, Daisy will not act out her parenting role. She needed to take control and actually make a decision. Two, this lethargy in enhanced by the awareness of the regressing plot. Rather than making progress, Donny is slowly slipping away from his family until he literally disappears into the darkness. The lack of affection, the lack of connection or communication, and even at times the cold indifference of these characters in relation to each other, is what ultimately makes this story tragic.
Word Count: 602
Monday, September 1, 2008
Pride and Prejudice: Darcy's Proposal
Darcy's proposal of marriage to Elizabeth and her subsequent rejection of him is the most eloquently expressed conflicts that I have ever read! It is a clear demonstration of Austen's style and touches on some of Austen's favorite themes: marriage, class, and society.
Austen's sentence structure and word choice depicts the personality and air of each character. Darcy's proposal is short and to the point, much like his character. Lizzy's initial response is the opposite. She makes a little longer response, is not direct, and is even perhaps snide in her final comment: "The feelings which, you tell me, have long prevented the acknowledgement of your regard can have little difficulty in overcoming it after this explanation." Her sentence structure is longer and slightly more complex than Darcy's. Note that as the argument continues and heightens, both characters' language become equally pointed and plain in the sense of transparency. This passage also exemplifies Austen's use of summery, especially in relation to the flow of her story. Rather than quoting Darcy's explanation of his struggles, she summarizes it. This allows more time to reflect upon his manner, read Lizzy's initial reactions, and presents a convenient way to move the reader through information that he or she already knows while introducing it for the first time to the other character, in this case, Lizzy.
Darcy and Lizzy's heated conversation reflects on ideas of marriage, class, and society of their times. Both are fully aware of the factors of class and society in marriage. Despite her shock and anger at Darcy's proposal and explanation, she is not "insensible to the compliment of such a man's affection." Darcy is more than aware of his status in society and, consequently, of Lizzy's. Darcy's utter surprise upon rejection is a testament to the times of Pride and Prejudice. Despite his overt slight of Elizabeth he had no reason to doubt her acceptance. He is so confidant in his position that he suggests that the sole reason for her rejection was his expressions concerning her inferiority: "these offences might have been overlooked, had not your pride been hurt by my honest confession. . . " Yet, despite the accelerating conflict between the two, Darcy remains adamant in his opinions and openly expresses his suffering concerning Elizabeth's family and station in life. He readily admits his designs in separating Jane and Bingly, stating: "Towards him I have been kinder than towards myself." (ouch!) In short, Darcy's proposal, Elizabeth's rejection, and the argument that ensued is a culmination of Austen's themes expressed and examined throughout the book; entangling the obstacles of class and society as principle roles in the overall theme of marriage.
Austen's sentence structure and word choice depicts the personality and air of each character. Darcy's proposal is short and to the point, much like his character. Lizzy's initial response is the opposite. She makes a little longer response, is not direct, and is even perhaps snide in her final comment: "The feelings which, you tell me, have long prevented the acknowledgement of your regard can have little difficulty in overcoming it after this explanation." Her sentence structure is longer and slightly more complex than Darcy's. Note that as the argument continues and heightens, both characters' language become equally pointed and plain in the sense of transparency. This passage also exemplifies Austen's use of summery, especially in relation to the flow of her story. Rather than quoting Darcy's explanation of his struggles, she summarizes it. This allows more time to reflect upon his manner, read Lizzy's initial reactions, and presents a convenient way to move the reader through information that he or she already knows while introducing it for the first time to the other character, in this case, Lizzy.
Darcy and Lizzy's heated conversation reflects on ideas of marriage, class, and society of their times. Both are fully aware of the factors of class and society in marriage. Despite her shock and anger at Darcy's proposal and explanation, she is not "insensible to the compliment of such a man's affection." Darcy is more than aware of his status in society and, consequently, of Lizzy's. Darcy's utter surprise upon rejection is a testament to the times of Pride and Prejudice. Despite his overt slight of Elizabeth he had no reason to doubt her acceptance. He is so confidant in his position that he suggests that the sole reason for her rejection was his expressions concerning her inferiority: "these offences might have been overlooked, had not your pride been hurt by my honest confession. . . " Yet, despite the accelerating conflict between the two, Darcy remains adamant in his opinions and openly expresses his suffering concerning Elizabeth's family and station in life. He readily admits his designs in separating Jane and Bingly, stating: "Towards him I have been kinder than towards myself." (ouch!) In short, Darcy's proposal, Elizabeth's rejection, and the argument that ensued is a culmination of Austen's themes expressed and examined throughout the book; entangling the obstacles of class and society as principle roles in the overall theme of marriage.
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