Author: Spongebobsburgers

https://www.youtube.com/watch?v=9dFDfOi_-ss

One ongoing complexity seen in Alice’s Adventure’s in Wonderland by Lewis Carroll, is that of miscommunication. There are several examples of this throughout the novel. For example, once in Wonderland, Alice has significant difficulty reciting lessons and poems she knows. She is unable to formulate thoughts and seldom understands what other characters are trying to convey to her.

In the chapter in which Alice is talking to the caterpillar, he asks her to recite the poem “You are old, Father William,” however, she is unable to do so. The caterpillar does not hesitate in notifying her she is wrong. Further, often times a word is stated, and interpreted in a way different than what was meant. This is depicted in the chapter “A Caucus Race and a Long Tale.” In this chapter, the mouse declares that it will tell a tale, as in a story. However, Alice incorrectly interprets this as the mouse talking about its tail. Thus, Alice pays close attention to the mouse’s appendage and fails to listen to the mouse’s story. The mouse then scolds Alice for her rudeness. Alice and the mouse had previous miscommunication when she brought up her cat, Dinah, which scared the inhabitants of Wonderland, yet she continued to talk about Dinah, unable to recognize why and how this was detrimental.

These points of miscommunication, along with many others within the novel cause the reader to wonder whether it is due to Alice’s ignorance or her being in Wonderland that is causing this language barrier to happen. It is intriguing that Alice accepts all of the illogical happenings in Wonderland, such as talking creatures, however, she fails to do something as simple as recalling lessons she has learned in school. Yet, throughout her journey, Alice tries to force her for of language on the creatures she encounters. This idea makes it seem as though Alice is the one at fault, and at the end of the day, she is desperately trying to alter the ways of Wonderland, rather than adapting to her new surroundings.

 

During the Victorian Era, women were considered unnecessary. Many women were not valued and thought of in a negative way. This concept is depicted in William Greg’s article “Why are Women Redundant?” At one point he states, “there is an enormous and increasing number of single women in the nation, a number quite disproportionate and quite abnormal” (158) and “[women] who remain unmarried constitute the problem to be solved, the evil and anomaly to be cured” (159). These ideas reflect the overall ideas of Victorian societies. Many believed married women were responsible for domestic duties, and had no real responsibilities other than these. Unmarried women, on the other hand, were viewed as burdens, as people who did nothing other than get in the way and cause harm.

Many of these ideas were portrayed through Victorian art and literature. Eugene Gaujean depicts the notion that certain women can be nuisances in the print “The Two Friends”. In the print there is a cat sitting on a chair next to reading glasses, knitting materials, and a crumpled newspaper. Cats are often considered feminine pets and associated with females, much like the concepts of knitting and reading. These all are reflective of feminine, domestic activities. If the cat represents the common Victorian women at the time, it shows how women were restricted to common household activities, many of which were scoffed at. However, if the cat were to represent unmarried Victorian women, it shows how they were often times in the way of others. The cat is sitting directly in the middle of the chair where typically a woman would be sitting. Not only does the cat replace the woman in this sense, but is also shown prohibiting work from being accomplished. Woman, often times, were considered inconvenient, much like the cat in the print.

 

Anne Catherick is the Woman in White. In the novel, The Woman in White by Wilkie Collins, Anne’s character initially serves as the catalyst for many crucial events that occur. For example, when Walter first sees Anne, he is left with an overwhelming amount of curiosity. Then later, when Anne reacts negatively to Sir Percival, it serves as indication that he has evil tendencies, thus causing her to react this way. As the novel progresses, Anne is frequently looked to in hopes of providing information about certain tendencies or histories of other characters. Toward the end of the novel, it is even revealed that Laura and Anne are half-sisters. There is no question Anne’s role in the novel is vital.

However, despite Anne’s significance in the plot of The Women in White, she finds an untimely, and rather anticlimactic farewell. After hearing Percival’s aspiration to obtain her money in the event of her death, Laura becomes more unsettled and desperate than she already is. However, if Laura were to fake her death, she would then be released of her obligation as Glyde’s wife. Luckily, at this exact point in the novel, Anne becomes terminally ill and dies. Although Anne is the title character and many of the early plot points revolve around her, she coincidentally dies in a very non-extraordinary way. Further, no one is even aware that she has died, because it is stated that Laura has died instead. After everything, Anne was not even officialy awarded her own death. In Walter’s narration it is stated, “In the eye of reason and of law, in the estimation of relatives and friends, according to every received formality of civilised society, ‘Laura, Lady Glyde’ lay buried with her mother in Limmeridge churchyard” (413). The focus of the novel consistently revolved around Laura.

Since the novel was published, there have been copious interpretations and revisions, both in writing and in other art forms. One intriguing interpretation is the painting, The Woman in White (1871) by Frederick Walker. What is so fascinating about this piece, in particular, is the facial expression of the woman. The piece is very simple, and mundane. The colors incorporated are quite earthy and bland. However, the appearance of the woman is very frantic as she exits the room, as if she were running away from something. When looking at this painting, thoughts of Anne’s anticlimactic death resurface. In a painting such as this, perhaps ‘the woman in white’ is not Anne at all, but rather Laura. Could this interpretation be a depiction of Laura, disguised as Anne, finally able to run from Sir Percival? For it is realized that, regardless of Anne’s importance, the focus of the novel was always, ultimately, Laura.

Throughout the Woman in White by Wilkie Collins, the reader witnesses drastic changes in many of the characters. Most notably, there are shifts among the female characters between the stereotypical ‘rash and emotional’ woman to a more stable and ‘masculine’ female character. This change in dynamic is witnessed in many of the characters. For example, Marion, who is more masculine and rational than the other female characters, becomes much more unstable and ‘feminine’ as the novel progresses. One of the most subtle, yet pivotal, changes however is seen in Anne, the woman in white.

At first, Anne is described as hysteric. When Walter first speaks with her she is said to have “spoke with unnecessary earnestness and agitation, and shrank back from me several paces” (25). She is uncomfortable and far from calm. This is particularly apparent when Sir Percival Glyde is mentioned and the woman screams uncontrollably. She possesses many of the characteristics a typical Victorian woman would have been said to exhibit. However, Anne’s character begins to change as the plot progresses. In a later passage, Walter sees Anne at Mrs. Fairlie’s grave, and her actions are much different than what one would expect. The novel states, “she then glanced all round her, and, taking a white linen cloth or handkerchief from under her cloak, turned aside towards the brook” (95). This picture of the woman in white is pure and peaceful. “She dipped the cloth then kneel down before the inscription, and apply her wet cloth to the cleansing of it” (95).

The language in this paragraph is particularly descriptive and striking, unlike the rest of the passage. Throughout the first epoch, Walter narrates the story and his tone is observant and at some points critical or unsure of the female characters. Although, his language becomes slightly feminine or more emotional when he describes having ‘strange feelings’. His tone is, for the most part, straightforward. With this description, there seems to be an immense amount of clarity in trying to figure out the mystery that is the woman in white. This passage, and its eloquence, is a turning point in the novel. From this point on, we learn more about Anne and her past and how truly crucial she is to the development of the plot as well as the progression of the other characters. For it is at this point in the novel, many of the other characters, such as Laura, begin to alter too.