Animals Intentional Literary Results In Miss Julie

In Neglect Julie, Julie's dog, Diana, functions as an embodiment of Julie's fate. Diana enters an affair with a pug of lower ranking, the "gatekeeper's pug". By using antitheses- purebred bitch and gatekeeper's pug it foreshadows the future dualism- aristocrat and commoner where Julie transcends her sociable boundary insurance firms a erotic affair with Jean. This parallelism practices that equally Diana encounters severe consequences for her actions "that Miss Julie won't allow", Julie's erotic folly has dire results. Julie in challenging Christine prepares "some filthy muck" for an immediate abortion conjures ideas of death, termination and annihilation engendering in viewers an ominous, apocalyptic spirits which foreshadows Julie's termination of her own life. In conjunction with the sensual engagement with the use of an olfactory imagery in "the [abortion potion] smell's infernal", it includes overtones of fiendish punishment creating an image of hell, invoking in audience the wrathful punishment for follies such as these, heightening the foreboding sinister horizon ahead.

After Julie's sexual folly down the road in the play, audiences are once more reminded "She, who all but possessed poor Diana shot for jogging following the gatekeeper's pug!", provoking heightened apprehension of Julie's consequence as has been approved to Diana. Miss Julie then "enters in travelling clothes with a small birdcage. " By participating audience with a visible image, it explicitly shows Julie is captured similar to the bird in a little birdcage. The bird's confinement in this tiny cage is symbolic of Miss Julie being trapped by the results of her action that there is no absolving. This parallels Julie's anguish at knowing her actions are unforgivable and wouldn't normally be pardoned.

Eventually, Jean snatches the bird from Julie, "takes it to the chopping stop and picks up the kitchen axe". This act of snatching the parrot from Julie is symbolic of Jean taking control of Julie and Julie burning off control over her own being. The getting rid of of the greenfinch foreshadows Julie's eventual suicide. Just like the Finch who dies at the hands of Jean, Julie's eventual suicide fatality is dictated by Jean and it is emblematic of patriarchal modern culture. Preceding this, due to her aristocracy, Julie asserts dominance over Jean who is one of the working-class. Contrastingly, this very take action of snatching the parrot and Jean "decreasing the axe" implies the reversal of roles on grounds of a lot more dominant sex irrespective of economic position. Jean's action, true to communal Darwinism, obviously show that it's the male that defines the feminine, it is he on whom she'll hinge her life into, her lifetime is largely defined by how he allows [or not] it to be. Just like the Greenfinch, Julie succumbs to her own mess up, analogous to female sensibility succumbing to the guy, phallic, patriarchal order, reaffirming man's control over individual affairs.

Similarly, like the death of the greenfinch which cannot endure outside, and who's kept through Jean's brutality, Julie's loss of life is an break free. Julie's eventual suicide dictated by Jean is the fulfillment of the sado-masochistic ritual where the victim wants her fatal end, the consummation of her masochistic illusion.

The concept of social Darwinism, resulting in the Naturalist activity from which Miss Julie arose, is also mirrored in this significant function of Jean "bringing down the axe", savagely hacking the top from Julie's twittering greenfinch. Like Darwinian ape-man, this work of masculinity at its basest, contributes to Jean being victorious by obeying his carnal intuition. Considering that Julie's continued existence is a threat to his security, Jean has to urgently get rid of her. As such, this symbolic function of brutality is visible of his powerful instinct for survival which results in the success of the fittest with the eventual removal of Julie as an impediment.

In substance, the Greenfinch effectively conveys ideas of communal and gender Darwinism exemplified in the act that could not be replicated on Julie herself given the magnitude of the brutality and gore which embodies for Stindberg his fantasy of the strong male sadist with robust instinct for survival.

Similarly, in The House of Bernarda Alba, family pets are being used to represent people. The stallion, representative of Pepe establishes the erotic tensions that the play evolves and like Diana in Miss Julie foreshadows the culmination of the play in a tragic finishing. The thought of being "locked in" parallels Pepe's confinement and emphasizes how greatly restrained he's. As much as the stallion is trying to break free from his physical confinement, Pepe wishes to relieve his sexual tensions which were suppressed. This is further visible in "He [stallion] must be hot". While the "heat" could be associated with the physical irritation, unease that summer months brings, the "heat" figuratively signifies heightened sexual dreams. As summertime is the time of the year characterized by fertility, lushness and output, the recurring idea of summer temperature is associated with sexual fertility, fruitfulness and conjures ideas of powerful repressed sexual desires resulting in uneasiness. Thus, the notion of Pepe's repressed instinct frantically seeking to break out is more powerfully conveyed than if explicitly provided through Pepe's onstage figure which would be improper and is an ominous pointer to the sexual face between Pepe & Adela. For me, although Pepe is not literally locked up like the stallion, perhaps, Lorca was suggesting a figurative steady, that of Bernarda's restricted control over Adela which presents an impediment to satisfying his desires.

The imminent erotic encounter is effectively foreshadowed when Bernarda requests "Let him [stallion] move out in the straw. " While using establishment of the stallion representing Pepe, the releasing of the suppressed stallion represents Pepe's liberalization to seek and fulfill his sexual desires which he eventually does indeed. However, the motive 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 household 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 which is reflective of the acceptance of the intimate excesses of men, for whom the experience of pre- and post-marital intimacy was only a sign of the manliness or "machismo". Through this, Lorca includes Naturalist elements rooted in custom, where such behaviour deny the likelihood of moving towards erotic equality.

Another facet of animals used in THE HOME of Bernarda Alba acts to emphasize the unnatural order of things in Bernarda's home which foreshadows the tragic finishing. With the explicit onstage presence of Maria Josefa showing with a lamb in her arms, in conjunction with the biblical allusions to Bentlehem and the delivery of Christ in her tune, it epitomizes the connection of love, the unity between mom and child. This maternal devotion is accentuated with the pastoral series "Little lamb, my baby". Contrastingly, Bernarda is known as "leopard face" with connotations of fierce, predatory, flesh-eating, and carnivorous. This diametrically contrasting relationship of love between mother and child where Maria Josefa views in her own girl only the savageries of wild animals, reveal the subverted, unnatural order where Bernarda control buttons not only her daughters, but her own mom. Through this, it foreshadows the results of the unnatural order of things where Maria Josefa alongside the little lamb symbolic of her grandchildren who are stifled, go to the sea shoreline, to blossoms at Bethlehem's gates. Here, the evocation of the seashore implies a longing for freedom and break free. Given the context which the play was written, 1930, a period marked by growing Fascist oppression, Lorca is possibly satirizing the Fascist administration displayed by Bernarda, exposing the ills of the Spain of his time.

In conclusion, family pets have been used by both Strindberg and Lorca to parallel individuals and foreshadow the imminent future. While both have used pets to parallel heroes and convey ideas dramatically which would in any other case be incorrect with explicit representation on mortals, Strindberg used pets to parallel character's situations, Diana and Greenfinch as embodiment of Julie's destiny while Lorca stretches the use of animals to parallel character's internal feelings of repression as well.

In the canine subplot, Julie's thoroughbred bitch consorts with the gatekeeper's mongrel ("managed to slide out with the gatekeeper's pug" ), and Christine, Julie's servant was purchased to get ready "some filthy much for Diana". Through this naturalistic play, Strindberg places new focus on physical realities. Julie's health is similar to that of her pet dog. Christine instructs Jean that Julie's time of the month is making her strange. Thus, by using her pet dog which is within oestrus, it features the reason behind Julie's irrational habit- consorting with the real human mongrels to that of a physical condition. As such, through the use of your dog, it reflects Julie's health and creates naturalism in the play.

Of great relevance would be Diana providing as Julie's double by engaging in an affair with a pug of lower ranking- "gatekeeper's pug". Just like how Diana enters an affair with a pug of lower status, Pass up Julie transcends her cultural boundary insurance firms a sexual affair with Jean. Therefore, by using antitheses- purebred bitch and gatekeeper's pug it foreshadows the near future dualism- nobility and commoner. JUST LIKE THE House of Bernada Alba, through this, it induces in audience's brain a erotic copulation without explicit representation onstage which would be repulsive. Furthermore, this parallelism uses that in the same way Diana encounters severe consequences on her behalf actions- "She, who all but possessed poor Diana shot for operating after the gatekeeper's pug!", Julie's sexual folly has dire effects. This creates suspense whilst foreshadowing Julie's aborting of her own life- suicide in the same way the gatekeeper was required to abort. Abortion conveys an idea of death, termination, which foreshadows Julie's termination (abortion) of her own life.

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)