Sympathetic Characters in "Hunters in the Snow"

“Hunters in the Snow,” a short story by Tobias Wolff, introduces the reader to three very interesting and dynamic characters. Tub, Kenny, and Frank are all quite selfish and rude to each other, and their attitudes and lack of commend sense and intelligence is what pushes along the action in the story. However, even with the distasteful personalities of the three, one still stands out as the most sympathetic character. Tub, a very obese man, is constantly made fun of and verbally abused by his “friends.” All of these actions eventually wear him down until he finally stands up for himself, but his desire to be liked by his friends still affects his decisions. He allows Frank to abuse is excessive eating habits, and honestly tries to point out to Frank how ignorant and hurtful he is towards other people. Tub states, “That’s true, Frank…You never pay attention,” (Wolff, 197). In this story, Tub is the only one to get Frank to consider the way he treats others but pointing out one of his flaws. While all the characters are greatly flawed, Tub’s attempt to fix one of them is admirable. Furthermore, I found Frank in the story to be the least sympathetic character. His attitude and actions are inconsiderate and rude for the entirety of the story, and he often is two-faced towards his friends. Whether he is leaving his wife for a fifteen year old girl, making fun of Tub’s obesity, or taking blankets from a frozen, injured Kenny, Frank does not seem to care about the happiness of anyone but himself. 

Roderigo - Othello Acts 4 and 5

While reading Othello, a play by William Shakespeare, one character in particular continued to confuse me. It seemed as though he really had no purpose except to be there, and I was confused why Shakespeare had included him in his work. However, after Acts 4 and 5, it is clear why Roderigo was created. Throughout the majority of the play, Roderigo is a standstill character who does very little to progress the story onward. However, it turns out that he is the first person to see through Iago’s deceit. While it is turned around on him, Rodergio is the first hint the reader gets that people might be catching on to Iago’s actions. Furthermore, while Roderigo is used to kill Cassio, resulting in his own death instead, he helps the others realize and confirm Iago’s madness after even after death. Roderigo had been communicating with Iago for a long time in order to try and help him win over Desdemona, and after his death, letters regarding this agreement were found within Roderigo’s pockets. One discussed how Iago had requested that Roderigo kill Cassio, removing him from the picture. The other letter, however, listed many of the complaints Roderigo had against Iago. Cassio states in regard to the letters, “And even but now he spake, after long seeming dead, Iago hurt him, Iago set him on,” (Shakespeare, 1459). Even though his interactions with Iago got him killed, Roderigo got his revenge on Iago even after death.

The Handkerchief - Othello Acts 4 and 5

William Shakespeare’s Othello proves to be a play with great depth, particularly in symbolism. While many objects and people in the story symbolize various things, one item in particular symbolizes one of the main themes in the play, deceit. All throughout the play, Iago is deceiving others with his actions and words, manipulating their feelings in order to create the conflict he desires. He, however, has the help of various items in achieving this goal. Othello’s strawberry covered handkerchief is this item that proves the most helpful to Iago. The handkerchief singlehandedly deceives multiple people, resulting in terrible actions that push forth the plotline of the play. In particular, the handkerchief symbolizes the deceit, albeit non-existent deceit, in Othello and Desdemona’s relationship. The handkerchief is a direct representation of Othello and Desdemona’s relationship because Othello gave it to her after their marriage. Because Iago has Emilia, his wife, steal the handkerchief, he is able to convince Othello that Desdemona is cheating on him by planting the item on other people, especially Cassio. While he really only discovered it because Iago had planted it on him, Iago makes it seem as though Desdemona had given Cassio Othello’s handkerchief as a sign of her affection. After Bianca brings it by, they discuss, “‘And did you see the handkerchief?’ ‘Was that mine?’ ‘Yours, by this hand,’” (Shakespeare, 1431). While all the other characters are none the wiser, the handkerchief passed around within the story effectively symbolizes Iago’s deceitfulness and the affect that has on all the characters.

Dynamic Emilia - Othello Acts 4 and 5

William Shakespeare’s play Othello is home to the development of many dynamic characters. However, one character in particular stands out when referencing great changes in personality and character. Emilia, Iago’s wife, was a quiet, reserved character for the majority of the play. Her quietness was brought forth by her husband’s treatment of her, as he called her names and disgraced her. In hopes to gain his favor, Emilia tried to be the perfect wife, a silent and simple woman, but it was not enough for Iago. However, in Acts 4 and 5 of Othello, Emilia finally has her moment to retire from being a push over and to stand up for herself and those she cares about instead. After Othello’s murder of Desdemona, Emilia is shocked that he would do such a thing. When Othello’s reasoning is explained, however, Emilia finally proves that her character was more than skin deep. Regardless of any possible consequences, Emilia’s incrimination of Iago is what finally reveals to the other characters exactly who was behind all of the madness in the play. She states, “Oh mistress, villainy hath made mocks with love! My husband say that she was false!” (Shakespeare,1454). This outburst from Emilia proves to Othello that Iago had been telling him lies about his wife, now directing the blame towards Iago. In the end, even though Iago killed her for it, Emilia died with more dignity than ever because of her final confession and realization.

The Willow Song - Othello Acts 4 and 5

After reading William Shakespeare’s Othello, there was a particular detail that I recognized to carry a great deal of importance within the last two acts. In Act 4 of Othello, Desdemona is speaking to her servant Emilia about a song she knows. However, I did not recognize that this song foreshadowed future events in the plot until I finished the play. Desdemona states that her own mother’s maid, in love with a mad man, knew this song, and “it expressed her fortune and she died singing it,” (Shakespeare, 1443). This description is interesting, because many of the statements made compare to Emilia’s situation. Like the woman in Desdemona’s story, Emilia is a servant, of Desdemona to be exact. Furthermore, she is married to Iago. While it is not common knowledge to the characters until the conclusion of the play, the reader is aware that Iago is a mad man. However, when this is finally realized, it is too late to change the outcome of Desdemona’s foreshadowing tale. Emilia’s refusal to accept her husband’s treachery results in his stabbing of her. As is discovered in Act 5, Emilia dies singing the song Desdemona had taught her about, in accordance to the story Desdemona told about her mother’s servant. Through this simple interaction between two characters, Shakespeare successfully foreshadows Emilia’s fate.

Jealousy in Othello

After reading Act III of William Shakespeare’s Othello, another major theme within the play became apparent. The majority of the problems and actions that take place within the story have the root cause of jealousy. Overall, the reason Iago is lying to everyone about everyone is because he is jealous of Cassio and Othello as well. In his mind, Cassio took his rightful position and Othello took his wife. Because of the jealousy he feels towards those two men, Iago makes it his goal to disgrace and ruin them. However, in Act III of the play, Othello states to Iago, “Within these three days let me hear thee say that Cassio’s not alive,” (Shakespeare 1419). Because Othello believes Cassio is sleeping with his wife, he gets jealous and in turn plots to kill Cassio. Othello’s anger and actions are ironic though because first of all, the reader still does not know whether he slept with Iago’s wife or not, which would make him a hypocrite, and second of all, because there is really nothing going on between Cassio and Othello’s wife Desdemona. Iago’s response to his jealous actually inspires jealousy in the others he interacted with, creating unnecessary drama and conflict. Because of the theme of jealousy within this story, Iago is able to successfully get his wish of slowly destroying Cassio and Othello.

Appearance vs. Reality: Shakespeare's Othello

A theme that becomes apparent in the first three acts of William Shakespeare’s Othello is the idea of appearance versus reality. In these acts, it seems as though the way all the other characters view one character is the exact opposite of the truth. While Iago, the antagonist of the story, is constantly praised as an honorable man, Othello, the protagonist of the story, is often questioned or thought to be disgraceful. The separation between reality and the way things appear is what pushes the story forward. Because Iago wants to get rid of Othello, he decides to go about it by ruining the lives of multiple other characters. While in reality he is a good person, Cassio is made out to look like a raging drunk after Othello’s wife. To convince him of Cassio’s treachery, Iago says to Othello, “But such a handkerchief – I am sure it was your wife’s – did I today see Cassio wipe his beard with,” (Shakespeare, 1418). While everyone else is losing their trust in each other and the officers they had put their faith in, they remain in respect of honest Iago. However, behind it all, Iago is the one tearing everyone’s lives apart and manipulating their feelings and actions. In this play, the one person who is remains a respected person is the one person who does not deserve any respect at all.

Othello's Time Period: Men vs. Women

Act II of William Shakespeare’s Othello introduces the reader to the drastically different roles of men and women in marriage. The two couples mentioned are Iago and Emilia and Othello and Desdemona, and while Othello treats Desdemona much better than Iago treats Emilia, they are still not shown much respect. Othello complains constantly about his wife, especially how she talks too much. During this time, it was expected of wives to take care of the household, have children, and keep quiet. Apparently, Emilia talks to Iago, which upsets him. While complaining to Cassio about her, Iago states, “would she give you so much of her lips as of her tongue she oft bestows on me, you’d have enough,” (Shakespeare, 1385). Iago just wanted a wife who would do as told and keep to herself, and Emilia’s talking does not satisfy that wish of his. Furthermore, Emilia understands that Iago thinks nothing of her. When asked whether he could say something kind or good about her, Iago claims that he could not. Desdemona is even affected by Iago’s disrespect for women when he claims that he will not say anything about her because he is too critical. Iago then goes into a description of all different types of women and how he would treat them, and Iago is still critical and obtuse. Through Iago’s treatment of both his wife and Desdemona, Shakespeare effectively portrays the disrespect shown towards women during the time period of his play.

Iago's Revenge: Othello, Act I-II

After reading Act I of William Shakespeare’s Othello, the reader is introduced to the major conflict of the play. Iago, an ensign to a captain named Othello, is angry over the fact that another man, Michael Cassio, attained the position of Lieutenant, or second in command, over himself. This anger towards Othello’s decision is what fuels the plot line as the story continues. While Iago probably did deserve the position over Cassio as he had more battle experience, Iago goes too far and decides to gain revenge on Othello. Iago, in hopes of vengeance, begins to set up different situations and lies in order to disgrace Othello or cause confusion. Even as one reads into Act II, Iago’s lies are what run the story. The conflict that he creates, whether stating that Othello kidnapped Desdemona or trying to create an affair between her and Cassio, is what slowly starts to whither away at each character’s respect and liability. Furthermore, Iago is after Othello because of a rumor he slept with his wife. However, Iago’s unreasonableness shines through when it is realized that he does not actually know whether it happened or not. Iago states, “And it is thought abroad that ‘twixt my sheets he’s done my office. I know not if’t be true,” (Shakespeare, 1382). Fueled by his anger over his military position, Iago chooses to slowly attack Othello through lies and the people around him.

"Getting Out" by Cleopatra Mathis

After reading Cleopatra Mathis’ poem, “Getting out,” the title relates to the poem and its topic quite well. While the end of the poem results in a breakup between to people, the three stanzas describe the various aspects that led to that end. Getting out if something implies a process, and that’s exactly what Mathis’ stanzas do - describe the process of this breakup. Mathis writes, “Every night, another refusal, the silent work of tightening the heart,” (Mathis, 896). From this phrase, the reader can gather that, regardless of what they did to prevent it, the couple slowly fell farther and farther apart as their hearts tightened a bit more every day. The second stanza discusses how things were or used to be. However, when the happiness was replaced with blame and disagreement, things fell apart. Even at the end, when there was so little of their relationship left, the couple in the poem was still upset to leave each other. In today’s world, we hear so many stories about violent and detrimental divorces which are upsetting, but the slow decline in the relationship of this poem actually saddened me even more. It truly seems as though the people in the poem really tried to make their relationship last, but it just was not meant to be. The idea that regardless of whether people want their relationship to last, it just might not, is truly the most saddening part of life represented in this poem.

"Popular Mechanics" by Raymond Carver

After reading Raymond Carver’s short story, “Popular Mechanics,” it became apparent how important the characters actions were to communicate the tone to the reader. There is minimal description of any setting within the story and the dialogue is limited, so the details Carver includes regarding the actions of the characters contribute greatly towards the plot. The story is focused on a couple who is splitting up, but these actions tell the true severity and anger within their situation. Carver writes, “He did not answer. He fastened the suitcase, put on his coat, looked around the bedroom before turning off the light,” (Carver). Because of the man’s lack of response and controlled behavior, it becomes obvious that the relationship between the characters is not good. Furthermore, the fact that Carver mentions the woman wiping her eyes shows that whatever had happened between the two, it had brought her to tears. Lastly, the final interaction between the two people and their baby shows the true hatred behind their relationship. Because they are so upset with each other, both parents become detached enough to disregard their child safety and pull him apart quite literally. While such actions are very unlikely, they truly helped Carver portray the deep hatred within the relationship, to the point where they would destroy their child.

"The Story of an Hour" by Kate Chopin

After reading Kate Chopin’s short story “The Story of an Hour,” I recognized the last line of the story to be a major theme. Chopin writes that a character in the story, Louise Mallard, died “of joy that kills,” (Chopin, 327). The strange idea that joy could kill stood out to me after reading of the circumstances surrounding Mrs. Mallard’s death. Because her husband had supposedly died, Mrs. Mallard was incredibly heart broken and upset. She began to think about her husband in Heaven and that she would get to see him again, and the pure joy and happiness she felt over that subject caused her death. In the real world, I believe that this does actually happen. Weeks after a family friend died, her husband died as well. If a person loves another enough that the thought of seeing them again brings them such joy, it, in the end, can kill them just as it killed Mrs. Mallard. Thinking of something unachievable or even dreaming allows a person to let go, and Mrs. Mallard let go in Chopin’s story in order to be with her husband. However, the twist at the end of the story - that Mallard’s husband was still alive - created a sour ending to the story. The original idea that the two Mallards would be together after death was comforting, but the fact that her husband was not even dead was shocking, as Mrs. Mallard would once again be alone, this time having no way back.

"You're Ugly, Too" by Lorrie Moore

While reading “You’re Ugly, Too,” a short story by Lorrie Moore, one is introduced to the main character of the story, Zoë Hendricks. Throughout the story, Moore brings out Zoë’s personality through her eccentric behaviors and perception of certain situations. She is truly an odd character, and in the end, I believe her eccentricities end up making her a sympathetic character. Her interactions with others oftentimes go downhill because of a comment she makes or something she does that is unintentionally rude or inappropriate. In the story, she pushes Earl, a man she met at her sister’s party, as he is leaning on the edge of a balcony. While he does not fall and is alright, the whole action quite frankly freaks him out and he does not understand what is wrong with Zoë. However, even though she did apologize, Zoë does not really understand what is wrong with her actions; rather, “she smiled at him, and wondered how she looked,” (Moore, 370). Because she misunderstands everyday situations and how to act, she becomes a sympathetic character. Readers feel sorry for her that she has not found love and that her students dislike her, both of which are caused by her odd behavior. Furthermore, after Zoë’s sister announces to her that she is getting married, Zoë begins to tell a story to her sister about two people who fell in love, but in the end, one committed suicide. While she chooses not to finish the story, the idea that Zoë would first think to talk to her sister about a suicide after her engagement announcement shows a little more of Zoë’s eccentricities. The audience feels pity towards her that she does not understand love, furthering her role as a sympathetic character.

"Delight in Disorder" by Robert Herrick

After reading “Delight in Disorder,” a poem by Robert Herrick, the idea of “wild civility” becomes apparent. Throughout the poem, the author praises disorder within people’s clothing – a sense of confusion or distraction. Through this theme, the author successfully transmits the idea that being perfect or striving for perfection is not as desirable as it may seem. The poem shows that no one really wants a perfect person, because it is, in fact, people’s imperfections that create the interest and intrigue behind their personalities. The poem states, “A sweet disorder in the dress, kindles in clothes a wantonness,” (Herrick, 979). This restates the idea that a little disorder creates a sense of intrigue in people. Furthermore, perfection sets a person on a pedestal above others, while a sense of disorder creates more of a sense of accessibility to a person. It places them on the same level as everyone else. By avoiding being buttoned-down, a person can make themselves be more appealing to others, as a person who is not intimidating. Perfection is not always the best thing, and Herrick’s poem proves this point.

"Lonely Hearts" by Wendy Cope

After reading Wendy Cope’s poem, “Lonely Hearts,” I could not help but notice the prominence of all different personalities and characteristics of people. This poem was probably one of the most realistic and relatable poems I have read, because the characteristics of the people mentioned within the poem are all characteristics of people I meet on a daily basis. However, the poem also relates all of these seemingly different people to each other. Whether a biker, a vegetarian, Jewish, bisexual, or successful, most people all yearn for the love and care of another. By connecting all of these various and random traits and personalities together, Cope successfully points out one of the most universal and central desires of all people. The poem repeats, “Can someone make my simple wish come true?” (Cope, 974). This phrase clearly portrays the wants of people and the measures they will take to find the love that everyone needs. While everyone is unique in their own ways, there is also someone equally unique out there for each person. Through her poem, Cope was able to not only connect seemingly different people; rather, she was also able to portray the deep desires of people.

"Eveline" by James Joyce

Within James Joyce’s short story “Eveline,” the theme of “spiritual paralysis” becomes apparent. While many places and countries today spark hope and excitement for the future, Joyce described Dublin within this story as a town full of people frozen into “spiritual paralysis.” They have no hope or no expectations for things to get better, and just like the word describes, they are paralyzed, or unable to move or change. This theme comes to life especially for Eveline. Even though she does not have an easy life and has been abused by her father in the past, she cannot, in the end, bring herself to leave Dublin. The story states, “Her father was becoming old lately, she noticed; he would miss her,” (Joyce, 220). She cannot get past the idea of disappointing her father and straying from the norm, and it prevents her from leaving. The city and the troubles she faces are all Eveline knows, and she becomes too stuck in that state of security with what she knows that she cannot escape it. She is truly spiritually paralyzed. The final expression of spiritual paralysis within “Eveline” is at the close of the story, when she chooses not to leave for Buenos Aires with Frank, a sailor. The uncertainty of the future is too much, and Eveline remains in Dublin.

"How I Met My Husband" by Alice Munro

After reading Alice Munro’s short story, “How I Met My Husband,’ I realized the effectiveness of the surprise ending in the story. Throughout the majority of the work, the reader is under the impression that Chris Watters, a pilot, is the husband of main character Edie. However, the reader later discovers that the mailman Edie meets while waiting for a letter from Chris becomes her husband. This ending was especially effective because it allowed for a revelation. While reading the story, I was confused why Edie was so enamored by Chris, especially because their personalities were not compatible and he was rather forward. Edie, on the other hand, was very shy and much younger than Chris. While waiting for Chris’ promised letter and an explanation for Edie’s care for him, the presence of the mailman made me realize the twist within the story. All of the dramatic events surrounding Chris just led up to Edie meeting the mailman, who in the end turned out to be her husband. The surprise ending was also rather inevitable. Seeing as Chris escaped his fiancée Alice by abandoning his plane ride business, it made sense that he would never really communicate with Edie, a girl he knew for a few weeks, again. However, Edie’s naïveté of Chris’ true intentions allowed her to meet her husband, as the story states, “It never crossed my mind for a long time a letter might not come,” (Munro, 145). When she finally realizes this fact, she is able to begin a relationship with the mailman.

Frankenstein: The Purpose of the Frame Story

After finishing Mary Shelley’s novel Frankenstein, the distribution and unique separation of time within the novel added to the story. Initially, the novel begins with four letters that Robert Walton, an explorer, writes to his sister Margaret. Just a few pages before the book ends, we return to Walton’s point of view with the statement, “You have read this strange and terrific story, Margaret,” (Shelley, 155). However, after Walton meets Victor Frankenstein, the reader hears nothing directly related to Walton until the last few pages of the novel. Although Walton was retelling Frankenstein’s story, the entire novel takes place in a letter to Margaret. This interesting separation of events is called a frame story, or a story within a story. Shelley’s use of a frame story enabled her to form the parallelism between Frankenstein, the creature, and Robert Walton. Many similarities are present between the three characters, and the format of a frame story allowed the author to formulate these comparisons without actually requiring them to interact with each other.  Furthermore, although she is never actually met, the frame story allowed for the creation and influence of Margaret. No actual response or words from her are ever read, yet her being influences Walton’s decisions and parallels Victor’s Elizabeth. Through her use of a frame story, Shelley was able to create many different aspects and connections in her novel that might have not been possible if she had followed a tradition format.

Slave v. Master: Motif

One major motif apparent in Frankenstein, a novel by Mary Shelley, is that of a slave and his master. Throughout the majority of the novel, there is a constant battle for power between the creator and the creature. Initially, Victor had all of the power, as the creation was simply and idea. However, as it became his obsession, Victor almost became a slave to his work or to the idea of the creature. He never stopped to think about the consequences of his actions, because the prospect of what he could do had taken over his mind, leaving no room for reason. While Victor gained some of that power and control back after creating the creature from the dead and bringing him to life, but as the creature grows older and Victor loses contact with him, the tables began to turn. As the creature became more and more angry with the human race’s disgust and fear of him, he begins to deal with his anger by plotting against Victor. He begins to hold the puppet strings that control Victor’s mood, actions, and health. By murdering Henry Clerval, the creature successfully sends Victor into depression and grave illness, while also getting him sent to prison. By making the right, but morally wrong, decisions, the creature is able to control Victor, just as a master controls his slave. Towards the end of the novel, the creature even refers to Victor as a slave, commanding him to do certain things. The creature states, “Slave, I before reasoned with you, but you have proved yourself unworthy of my condescension,” (Shelley, 122). Not only does the creature call Victor a slave, but he also calls him unworthy. This change in power and role becomes quite obvious as the creature overpowers Victor.

Frankenstein: Dramatic Irony

In Mary Shelley’s novel Frankenstein, a misconception about one of the creature’s comments leads to not Victor’s downfall, but that of another. After Victor refuses to create a female being for the creature, the creature explodes with anger and threats of retaliation. He exclaims to Victor, “I shall be with you on your wedding-night,” (Shelley, 123). However, Victor’s understanding of this statement gets him into trouble. While he fully expects that the creature will kill him after his marriage, dramatic irony comes into play as the reader has prior knowledge of the creature’s motive. The reader realizes that the creature is after Elizabeth, Victor’s future wife, as he hopes to bring Victor to a state of misery and desperation. In the past, the creature had killed William and Clerval – and Justine indirectly – and Elizabeth would be the fourth attack on Victor’s family. He speaks to Victor, stating, “I will work at your destruction, nor finish until I desolate your heart, so that you shall curse the hour of your birth,” (Shelley, 104). This shows how the creature hopes to bring Victor emotional pain through the murder of others rather than Victor himself, leaving him with the knowledge that his own creation killed many of his loved ones. By killing off even more family members and friends, the creature has slowly whittled away at Victor’s resolve, and the death of Elizabeth would be key in breaking down Victor.