Tag Archives: confinement

confinement in As I Lay Dying

It was nigh toward daybreak when we drove the last nail and toted it into the house, where she was laying on the bed with the window open and the rain blowing on her again.  Twice he did it, and him so dead for sleep that Cora says his face looked like one of these here Christmas masts that had done been buried a while and then dug up, until at last they put her into it and nailed it down so he couldn’t open the window on her no more.  And the next  morning they found him in his shirt tail, laying asleep on the floor like a felled steer, and the top of the box bored clean full of holes and Cash’s new auger broke off in the last one.  When they taken the lid off they found that two of them had bored on into her face. (73)

Faulkner, William.  As I Lay Dying.  New York: Vintage, 1990.

Notes: liberation, confinement, ignorance, fish as a metaphor, coffin aquarium? view from outside, a neighbor, different perspective.









confinement and past regrets in Mrs Dalloway

It was fascinating to watch her, moving about, that old lady, crossing the room, coming to the window.  Could she see her?  It was fascinating, with people still laughing and shouting in the drawing-room, to watch that old woman, quite quietly, going to bed.  She pulled the blind now.  The clock began striking.  The young man had killed himself; but she did not pity him; with the clock striking the hour, one , two, three, she did not pity him, with all this going on, she repeated, and the words came to her, Fear no more the heat of the sun.  She must go back to them.  But what an extraordinary night!  She felt somehow very like him–the young man who had killed himself.  She felt glad that he had done it; thrown it away.  The clock was striking.  The leaden circles dissolved in the air.  He made her feel the beauty; made her feel the fun.  But she must go back.  She must assemble.  She must find Sally and Peter.  And she came in from the little room.  (186)

Woolf, Virginia.  Mrs. Dalloway.  New York: Harcourt, 1981.

Notes:  The old woman in the room that Clarissa sees through her window symbolizes the confinement that she experiences in her life due to her past decision.  She chooses to marry  Richard because of societal pressures instead of following her heart.  She would have been happier marrying peter, or, more importantly, she would have been the happiest if she would have been with Sally, as she found her to be truly exciting and exuberant.  However, she does not consummate her relationships with neither of these people; hence, she has lost her identity and she is “not even Clarissa anymore; this being Mrs. Richard Dalloway” (11).  The fact that Clarissa and Septimus does not meet in the story signifies their parallel lives.  Like Clarissa, Septimus is tormented by the past–as evidenced by him suffering from post-traumatic stress from the war.  Nonetheless, Septimus is able to free himself from his past and any potential confinements.  When the doctor is about to institutionalize him, Septimus jumps out the window and commits suicide.  This signifies that even though he is dead, his essence, his soul is free because he is not willing to abide by societal expectations and restrictions.  On the other hand, Clarissa is confined by societal pressures.  Septimus is able to free himself from his past, while Clarissa supresses her past by engaging in trivial pursuits.