by Kate Chopin
The Kiss
Adolph von Menzel, Living Room with the Artist's Sister, 1847
It was still quite light out of doors, but inside with the curtains drawn and the smouldering fire sending out a dim, uncertain glow, the room was full of deep shadows.
Brantain sat in one of these shadows; it had overtaken him and he did not mind. The obscurity lent him courage to keep his eves fastened as ardently as he liked upon the girl who sat in the firelight.
She was very handsome, with a certain fine, rich coloring that belongs to the healthy brune type. She was quite composed, as she idly stroked the satiny coat of the cat that lay curled in her lap, and she occasionally sent a slow glance into the shadow where her companion sat. They were talking low, of indifferent things which plainly were not the things that occupied their thoughts. She knew that he loved her--a frank, blustering fellow without guile enough to conceal his feelings, and no desire to do so. For two weeks past he had sought her society eagerly and persistently. She was confidently waiting for him to declare himself and she meant to accept him. The rather insignificant and unattractive Brantain was enormously rich; and she liked and required the entourage which wealth could give her.
During one of the pauses between their talk of the last tea and the next reception the door opened and a young man entered whom Brantain knew quite well. The girl turned her face toward him. A stride or two brought him to her side, and bending over her chair--before she could suspect his intention, for she did not realize that he had not seen her visitor--he pressed an ardent, lingering kiss upon her lips.
Brantain slowly arose; so did the girl arise, but quickly, and the newcomer stood between them, a little amusement and some defiance struggling with the confusion in his face.
"I believe," stammered Brantain, "I see that I have stayed too long. I--I had no idea--that is, I must wish you good-by." He was clutching his hat with both hands, and probably did not perceive that she was extending her hand to him, her presence of mind had not completely deserted her; but she could not have trusted herself to speak.
"Hang me if I saw him sitting there, Nattie! I know it's deuced awkward for you. But I hope you'll forgive me this once--this very first break. Why, what's the matter?"
"Don't touch me; don't come near me," she returned angrily. "What do you mean by entering the house without ringing?"
"I came in with your brother, as I often do," he answered coldly, in self-justification. "We came in the side way. He went upstairs and I came in here hoping to find you. The explanation is simple enough and ought to satisfy you that the misadventure was unavoidable. But do say that you forgive me, Nathalie," he entreated, softening.
"Forgive you! You don't know what you are talking about. Let me pass. It depends upon--a good deal whether I ever forgive you."
At that next reception which she and Brantain had been talking about she approached the young man with a delicious frankness of manner when she saw him there.
"Will you let me speak to you a moment or two, Mr. Brantain?" she asked with an engaging but perturbed smile. He seemed extremely unhappy; but when she took his arm and walked away with him, seeking a retired corner, a ray of hope mingled with the almost comical misery of his expression. She was apparently very outspoken.
"Perhaps I should not have sought this interview, Mr. Brantain; but--but, oh, I have been very uncomfortable, almost miserable since that little encounter the other afternoon. When I thought how you might have misinterpreted it, and believed things" --hope was plainly gaining the ascendancy over misery in Brantain's round, guileless face--"Of course, I know it is nothing to you, but for my own sake I do want you to understand that Mr. Harvy is an intimate friend of long standing. Why, we have always been like cousins--like brother and sister, I may say. He is my brother's most intimate associate and often fancies that he is entitled to the same privileges as the family. Oh, I know it is absurd, uncalled for, to tell you this; undignified even," she was almost weeping, "but it makes so much difference to me what you think of--of me." Her voice had grown very low and agitated. The misery had all disappeared from Brantain's face.
"Then you do really care what I think, Miss Nathalie? May I call you Miss Nathalie?" They turned into a long, dim corridor that was lined on either side with tall, graceful plants. They walked slowly to the very end of it. When they turned to retrace their steps Brantain's face was radiant and hers was triumphant.
Harvy was among the guests at the wedding; and he sought her out in a rare moment when she stood alone.
"Your husband," he said, smiling, "has sent me over to kiss you. "
A quick blush suffused her face and round polished throat. "I suppose it's natural for a man to feel and act generously on an occasion of this kind. He tells me he doesn't want his marriage to interrupt wholly that pleasant intimacy which has existed between you and me. I don't know what you've been telling him," with an insolent smile, "but he has sent me here to kiss you."
She felt like a chess player who, by the clever handling of his pieces, sees the game taking the course intended. Her eyes were bright and tender with a smile as they glanced up into his; and her lips looked hungry for the kiss which they invited.
"But, you know," he went on quietly, "I didn't tell him so, it would have seemed ungrateful, but I can tell you. I've stopped kissing women; it's dangerous."
Well, she had Brantain and his million left. A person can't have everything in this world; and it was a little unreasonable of her to expect it.
this is the question
In Lord of the Flies, the narrator provides an omniscient, drone's-eye view of the boys on the island. How does that choice by the author help to involve the reader in the developing story? How does it encourage the reader to sit in judgment of the characters?
1 answer
In "Lord of the Flies," William Golding’s choice to employ an omniscient narrator serves several crucial functions that involve the reader deeply in the narrative and promote a critical judgment of the characters.
Immersion in the Story
Comprehensive Perspective: The omniscient narrator allows readers to gain insight into the thoughts and motivations of multiple characters. This comprehensive perspective creates a rich tapestry of experiences—readers can empathize with Ralph's desire for order and civilization, Jack's thirst for power, and Piggy's intellectualism. By understanding the characters' internal struggles and conflicts, readers become more invested in their journeys and the unfolding events.
Contextual Understanding: The narrative provides background information and context about the boys, their environment, and the societal constructs they attempt to recreate. This encourages readers to see the broader implications of the boys’ actions and their gradual descent into savagery, making the themes of civilization versus savagery, loss of innocence, and inherent human nature resonate more strongly.
Ability to Judge Characters
Moral Framework: With the omniscient viewpoint, Golding positions the reader to actively evaluate the moral choices of the characters. Readers observe how power dynamics shift, how fear manipulates behavior, and how societal norms crumble in the absence of authority. This ability to see the ideologies and conflicts play out invites readers to form their own judgments about right and wrong as embodied by characters like Ralph, Jack, and Piggy.
Foreshadowing and Irony: The narrator's broader awareness often highlights foreshadowing and ironic elements that the characters themselves may not perceive. For instance, the promise of rescue contrasts sharply with the boys' increasing savagery. This dramatic irony allows readers to assess the characters' decisions and the consequences of their actions with a critical lens, fully aware of the impending tragedy that each choice leads to.
Engagement in Themes: By revealing the motivations and actions of each character, Golding encourages readers to engage with the central themes and the philosophical questions they raise. For example, moments of violence or cooperation among the boys prompt readers to reflect on the nature of evil and morality. The omniscient viewpoint helps instigate discussions about human nature, authority, and societal breakdown.
In summary, Golding’s use of an omniscient narrator in "Lord of the Flies" enhances both the immersive quality of the storytelling and the reader's capacity to judge the characters. This narrative choice deepens the exploration of themes such as civilization versus savagery and the inherent darkness within humanity, prompting readers to reflect on these concepts as the story unfolds.
1 answer