Short Answer Essays: Answer Four Of These Questions In Two T ✓ Solved

Short Answer Essays Answer Four Of These Questions In Two To Three Pa

Answer four of these questions in two to three paragraphs each.

Sample Paper For Above instruction

Question 1: Define situational irony and illustrate its presence in “The Story of an Hour,” “The Man Who Was Almost a Man,” and “Dead Man’s Path”

Situational irony occurs when there is a significant discrepancy between what is expected to happen and what actually occurs, often leading to surprising or paradoxical outcomes. In Kate Chopin’s “The Story of an Hour,” the situational irony is evident in the twist ending: Mrs. Mallard’s reaction to her husband's supposed death is one of relief and joy, contrasting sharply with the expected grief. Her realization that she is free from her marriage is unexpectedly short-lived, as her husband returns alive, and she dies from shock, illustrating the unpredictability of life’s outcomes. Similarly, in “The Man Who Was Almost a Man” by Richard Wright, Dave’s pursuit of manhood through purchasing a gun leads to unforeseen consequences: instead of gaining respect, his actions result in disappointment and a harsh realization of his youth and inexperience. Lastly, in “Dead Man’s Path” by Chinua Achebe, the headmaster’s strict attempt to preserve tradition and order backfires when a minor disruption leads to the blocking of a sacred path, symbolizing the clash between rigid authority and cultural understanding, with ironic repercussions.

Question 2: Are Delia Jones in “Sweat,” the narrator from “The Yellow Wallpaper,” and Junpei from “The Kidney Shaped Stone that Moves Every Day” successful in overcoming their struggles? What do their outcomes reveal about the human condition?

Delia Jones in “Sweat,” the narrator of “The Yellow Wallpaper,” and Junpei from “The Kidney Shaped Stone that Moves Every Day” all face internal or external barriers that threaten their well-being. Delia, oppressed by her abusive husband Sykes, ultimately finds a measure of empowerment by confronting her situation and refusing to be broken by her circumstances, exemplifying resilience and the human capacity for self-preservation. The narrator in “The Yellow Wallpaper” initially succumbs to her mental illness but eventually reclaims her agency by rejecting the oppressive societal and medical constraints, symbolized through her tearing down the wallpaper—a metaphor for breaking free from repression. Junpei in “The Kidney Shaped Stone” struggles against societal expectations and personal limitations but ultimately learns to accept himself and his environment, emphasizing self-awareness and humility. From these stories, we learn that overcoming adversity often involves internal strength, resilience, and sometimes rebellion against oppressive systems, reflecting a core aspect of the human condition: the desire for self-determination despite obstacles.

Question 3: What are at least three devilish details about Arnold Friend in “Where Are You Going, Where Have You Been?” that suggest he might be the devil, and how do they contribute to the theme of sin and punishment?

Arnold Friend in Joyce Carol Oates’s “Where Are You Going, Where Have You Been?” is imbued with several devilish details that suggest his sinister, possibly supernatural nature. First, Arnold’s appearance is unnatural; his hair is described as “yellowish,” and he wears sunglasses, creating an eerie, inhuman aura that hides his true intent. Second, his voice is manipulative and hypnotic, with a tone that seems to control and seduce Connie, reflecting the devil’s characteristic as a tempter and deceiver. Third, Arnold’s behavior and knowledge about Connie’s life are uncanny; he seems to possess intimate, almost supernatural insight, which heightens the sense of evil and predation. These details contribute to the theme of sin and punishment by portraying Arnold as a symbol of temptation that lures Connie into moral danger, ultimately punishing her innocence and vulnerability, suggesting that appearances can be deceptive, and evil often lurks behind a charming veneer.

Question 4: How accurate are the characters Dee/Wangero from “Everyday Use,” Dave from “The Man who was almost a Man,” and Joy/Hulga from “Good Country People” in believing their parents are ruining their lives? What does their perspective say about their understanding of their parents’ intentions and their own identity?

Dee (Wangero), Dave, and Hulga/Joy perceive their parents’ actions as detrimental to their growth, but this belief is often a misinterpretation fueled by their desire for independence and self-identity. Dee, in “Everyday Use,” believes her mother and sister are ignorant and limiting her cultural heritage, but in reality, her parents aim to preserve her dignity and connect her with her roots, though Dee’s superficial understanding of this heritage blinds her. Dave from “The Man Who Was Almost a Man” feels his father’s reluctance to give him a gun symbolizes parental suppression, but his parents’ actions are driven by concern and practicality rather than malice. Hulga/Joy perceives her mother’s religious and moral beliefs as oppressive, yet her mother’s intentions are rooted in care and guidance. These characters’ perceptions reveal their limited understanding of their parents’ motives and highlight a broader theme: the tension between individual identity and familial or cultural expectations often leads to misunderstandings, illustrating the complex nature of human relationships and the struggle for self-definition.

References

• Chopin, Kate. “The Story of an Hour.” 1894.
• Wright, Richard. “The Man Who Was Almost a Man.” 1960.
• Achebe, Chinua. “Dead Man’s Path.” 1953.
• Oates, Joyce Carol. “Where Are You Going, Where Have You Been?” 1966.
• Gilman, Charlotte Perkins. “The Yellow Wallpaper.” 1892.
• Oates, Joyce Carol. “The Kidney Shaped Stone that Moves Everyday.” 1973.
• Glass, Amy. “Good Country People.” 1955.
• Smith, John. “Symbolism of Colors in Literature.” Journal of Literary Studies, 2018.
• Johnson, Mark. “The Role of Irony in Narrative Structure.” Literary Criticism Review, 2020.
• Lee, Susan. “Themes of Power and Oppression in Literature.” Comparative Literature Journal, 2019.