Animals And Elements Of Symbolism English Books Essay

In both texts, animals are employed for intentional literary results. Portion as parallels to stand for characters, animals add as components of symbolism to convey meanings and ideas in a more impactful manner than if these ideas were explicitly pointed out. Furthermore, the representation creates remarkable tension and suspense for audience as ominous incidents are foreshadowed. In light of the time period both of these works were written, Miss Julie in 1936 and The House of Bernarda Alba in 1888, audience's traditional conventional mindset would probably have found immediate personal references to certain ideas like intimate tensions in The House of Bernarda Alba and brutality in Pass up Julie inappropriate, improper, and perhaps, unpleasant. Thus, not just have pets or animals been used to mention such ideas, they have effectively further increased resonance of the play.

In Pass up Julie, Julie's dog, Diana, acts as an embodiment of Julie's destiny. Diana enters an affair with a pug of lower standing, the "gatekeeper's pug". Through the use of antitheses- purebred bitch and gatekeeper's pug it foreshadows the future dualism- aristocrat and commoner where Julie transcends her communal boundary with a sexual affair with Jean. This parallelism follows that as Diana encounters severe consequences on her behalf actions "that Pass up Julie won't allow", Julie's intimate folly has dire implications. Julie in requiring Christine prepares "some filthy muck" for an instantaneous abortion conjures ideas of loss of life, termination and annihilation engendering in viewers an ominous, apocalyptic mood which foreshadows Julie's termination of her own life. Coupled with the sensual engagement with the use of an olfactory imagery in "the [abortion potion] smell's infernal", it has overtones of fiendish consequence creating an image of hell, invoking in audience the wrathful abuse for follies such as these, heightening the foreboding sinister horizon forward.

After Julie's intimate folly later on in the play, followers are once again reminded "She, who basically experienced poor Diana shot for running following the gatekeeper's pug!", provoking heightened apprehension of Julie's punishment as has been recommended to Diana. Pass up Julie then "enters in travelling clothes with a tiny birdcage. " By engaging audience with a visible image, it explicitly shows Julie is stuck similar to the bird in a little birdcage. The bird's confinement in this tiny cage is symbolic of Pass up Julie being caught by the results of her action that there is absolutely no absolving. This parallels Julie's anguish at realizing her actions are unforgivable and would not be pardoned.

Eventually, Jean snatches the parrot from Julie, "takes it to the chopping block and accumulates the kitchen axe". This function of snatching the parrot from Julie is symbolic of Jean taking control of Julie and Julie getting rid of control over her own being. The getting rid of of the greenfinch foreshadows Julie's eventual suicide. Just like the Finch who dies as a result of Jean, Julie's eventual suicide fatality is dictated by Jean and is also emblematic of patriarchal contemporary society. Preceding this, due to her aristocracy, Julie asserts dominance over Jean who belongs to the working-class. Contrastingly, this very act of snatching the parrot and Jean "decreasing the axe" signifies the reversal of assignments on grounds of the greater dominant sex irrespective of economic position. Jean's action, true to cultural Darwinism, obviously show that it is the guy that defines the feminine, it is he on whom she'll hinge her life into, her life is largely identified by how he allows [or not] it to be. Like the Greenfinch, Julie succumbs to her own mess up, analogous to female sensibility succumbing to the men, phallic, patriarchal order, reaffirming man's control over individuals affairs.

Similarly, like the fatality of the greenfinch which cannot make it through outside, and who's preserved through Jean's brutality, Julie's fatality is an break free. Julie's eventual suicide dictated by Jean is the fulfillment of the sado-masochistic ritual where in fact the victim dreams her fatal end, the consummation of her masochistic dream.

The idea of social Darwinism, resulting in the Naturalist movements from which Miss Julie arose, is also shown in this significant take action of Jean "bringing down the axe", savagely hacking the head from Julie's twittering greenfinch. Like Darwinian ape-man, this act of masculinity at its basest, leads to Jean being victorious by obeying his carnal intuition. Given that Julie's continued occurrence is a risk to his security, Jean must urgently get rid of her. So, this symbolic work of brutality is visible of his powerful instinct for success which results in the success of the fittest with the eventual removal of Julie as an impediment.

In essence, the Greenfinch effectively conveys ideas of interpersonal and gender Darwinism exemplified in the act which could not be replicated on Julie herself given the scope of the brutality and gore which embodies for Stindberg his illusion of the strong man sadist with sturdy instinct for success.

Similarly, in The House of Bernarda Alba, pets or animals are used to represent character types. The stallion, rep of Pepe establishes the sexual tensions that the play builds up and like Diana in Neglect Julie foreshadows the culmination of the play in a tragic stopping. The thought of being "locked in" parallels Pepe's confinement and emphasizes how greatly restrained he is. Around the stallion is trying to break free from his physical confinement, Pepe needs to alleviate his intimate tensions which were suppressed. This is further evident in "He [stallion] must be hot". While the "heat" could be from the physical irritation, unease that summer brings, the "heat" figuratively represents heightened sexual dreams. As summer is the time of the year characterized by fertility, lushness and production, the recurring notion of summer warmth is associated with erotic fertility, fruitfulness and conjures ideas of extreme repressed sexual dreams leading to uneasiness. Thus, the notion of Pepe's repressed instinct desperately seeking to break out is more powerfully conveyed than if explicitly offered through Pepe's onstage figure which would be improper and is an ominous pointer to the intimate face between Pepe & Adela. In my opinion, although Pepe is not actually locked up like the stallion, perhaps, Lorca was recommending a figurative secure, that of Bernarda's small control over Adela which presents an impediment to satisfying his wants.

The imminent sexual come across is effectively foreshadowed when Bernarda orders "Let him [stallion] spin away in the straw. " Using the establishment of the stallion representing Pepe, the releasing of the suppressed stallion grades Pepe's liberalization to get and accomplish his sexual wants which he eventually does. However, the objective of Bernarda- "Lock the mares in the stable but let him loose, before he brings the walls on top of us", is ironic for what is true of the stallion will end up being true of Pepe el Romano who will eventually lower the walls after the entire home leading to grief, anguish, disorder and finally Adela's suicide. This re-establishes the confinement of Bernarda's daughters displayed by the locking of the mares and is reflective of the popularity of the intimate excesses of men, for whom the experience of pre- and post-marital love-making was only a sign with their manliness or "machismo". Through this, Lorca includes Naturalist elements rooted in traditions, where such attitudes deny the probability of moving towards intimate equality.

Another facet of animals found in THE HOME of Bernarda Alba serves to focus on the unnatural order of things in Bernarda's household which foreshadows the tragic finishing. From the explicit onstage presence of Maria Josefa appearing with a lamb in her arms, coupled with the biblical allusions to Bentlehem and the delivery of Christ in her tune, it epitomizes the relationship of love, the unity between mother and child. This maternal devotion is accentuated with the pastoral range "Little lamb, my baby". Contrastingly, Bernarda is referred to as "leopard face" with connotations of brutal, predatory, flesh-eating, and carnivorous. This diametrically contrasting connection of love between mom and child where Maria Josefa perceives in her own little girl only the savageries of wildlife, show the subverted, unnatural order where Bernarda handles not only her daughters, but her own mom. Through this, it foreshadows the results of the unnatural order of things where Maria Josefa together with the little lamb symbolic of her grandchildren who are stifled, go directly to the sea shore, to blossoms at Bethlehem's gates. Here, the evocation of the seashore suggests a desiring freedom and break free. Given the framework which the play was written, 1930, a period marked by growing Fascist oppression, Lorca is possibly satirizing the Fascist administration represented by Bernarda, exposing the ills of the Spain of his time.

In conclusion, pets have been used by both Strindberg and Lorca to parallel characters and foreshadow the imminent future. While both have used pets to parallel individuals and express ideas drastically which would otherwise be unacceptable with explicit representation on mortals, Strindberg employed pets or animals to parallel character's situations, Diana and Greenfinch as embodiment of Julie's destiny while Lorca extends the utilization of pets to parallel character's internal feelings of repression as well.

Also We Can Offer!

Other services that we offer

If you don’t see the necessary subject, paper type, or topic in our list of available services and examples, don’t worry! We have a number of other academic disciplines to suit the needs of anyone who visits this website looking for help.

How to ...

We made your life easier with putting together a big number of articles and guidelines on how to plan and write different types of assignments (Essay, Research Paper, Dissertation etc)