The way that Praed patronizes Vivie in his praise of her unconventionality seems condescending here. He patronizingly refers to her as a "modern young lady," and Vivie is unamused by him as he discusses the differences between women from his age and "modern women." Vive is described with much more of a masculine tone thus far in the text, as she appears confident and business-like, and greets Praed with a strong handshake. These descriptions of her coupled with her higher education in math suggest that Vivie's "unconventional" and "modern" aspects are derived from her overt masculinity that counters the rigid gender expectations of the 19th century.

The poem demonstrates the idea that once once a woman begins to assert her sexuality, she enters the marketplace. After her exposure to the goblin men, Laura is effectively ruined; she is unable to return to her pleasant life since entering the marketplace. Her only reprieve came in the form of a woman, as Lizzie’s role as the savior underscores the strength and power in sisterhood. Additionally, at the end of the poem the marriage to a man is presented as negative, as Laura and Lizzie recall their younger days in maidenhood as “pleasant days long gone,” suggesting that the years of being single and living with one another were the best days of their lives. The poem thus presents a somewhat false ending, as the ending of the poem with the women married to men and tending a household is in tension with Laura and Lizzie’s wistful longing for their days as young women before they were married. Goblin Market's suggests that female empowerment is strengthened through one another, and that women subsequently lose this power through marriage and domesticity.

Bronte again equates humans with the landscape, highlighting themes of nature vs nurture. As Catherine appears peaceful, it is a fleeting emotion that matches the temporality of the sunshine. The "shadows resting" on her face suggest that she is often plagued with gloom and anxiety, even as she is meant to be experiencing joy and happiness. Bronte uses the land and the nature to mirror the moods of the characters, onece again stressing the unification of the humans and the land.

Like in previous passages, the language describes Heathcliff as animalistic and subhuman. After Hindley locks Heathcliff out of the house, his rage is so uncontrollable that he is likened to a bear, which demonstrates how other characters see him as unable to conform to the standards and behaviors set for human beings. This presents Heathcliff as an "other" in the eyes of the characters, as even when he is given the opportunity to act civil by not engaging in a fight with Hindley, he continues to resort to his nefarious and violent behavior. The cycle of violence here is is evident, as Heathcliff was dehumanized by the Earnshaws when he was a child, and he seems to have lived up to their expectations of him; it is clear that as an adult he is controlled by his emotions and reacts with violence, and he refuses to change his ways.

In this scene, Bronte underscores the excessive violence existing in the family. As Hindley reacts violently to Hareton's refusal to show affection, we see how quickly love turns into rage. For the characters in Wuthering Heights, passion often comes with intense displays of emotion that change in a split second. As Hindley throws his son over the bannister and Heathcliff catches him, the close call calls attention to the consequences of this intense passion,and highlights how the subsequent violence nearly leads to Hareton's death.

Through the first few chapters of Wuthering Heights, the families and characters are introduced, and here they are shown to be resentful of the orphan that Mr. Earnshaw brings home to live with them. They see the child as dirty and consistently refer to him as an "it" in attempt to distance themselves from him in class, manners, and appearance. This passage highlights the ways in which the family rejects the presence of a lower class child, and as he is merely tolerated and not welcome-- the family does not hide their disgust for the child, and does their best to dehumanize and effectively "other" him. The ways in which this family attempts to tear down and reject Heathcliff's presence demonstrates the dark and twisted nature of these people and how their behavior conflicts with they ways in which they view themselves.

Arnold's dark and despondent tone is emphasized in this section of the poem, as he describes a metaphorical Sea of Faith that, although once full, is now retreating, symbolizing the speaker's waning faith in humanity at large. Arnold built up the sea from the beginning of the poem only to turn it into a metaphor for hopelessness in this part of the poem, which underscores how his own faith in the world has changed as the world itself has changed; it describes an adjustment to his feelings about society and humanity, and how it has changed from hope to hopeless as world events have altered his view. In this part of the poem, the shift from fullness to emptiness in the sea mirrors the speaker's perception and thoughts, and highlights his grief towards the state of the modern world.

Herman uses militaristic diction near the end of this poem to highlight how the ocean has become a graveyard for servicemen. The dark imagery illuminates how death and violence in war is a consequence of winning, and how there is loss even in victory. The ocean is the body that connects England to other countries that it has conflict with, but it also functions as a graveyard for men who die because of these battles. Hermans' imagery and metaphors underscore the cost of war and honor the dead who were lost in service to England and its advancement as a nation.

The speaker reveals that she carries a child with her on this journey, and the her child was a result of rape by her master. She describes the disconnect she feels when she looks at her child, as his face reminds her of the trauma of slavery and rape that was brought on by her master, and thus she cannot feel the maternal connection. Her trauma during her enslavement is emphasized here as the white people she was surrounded by treated her as sub-human, and the child's proximity to whiteness retraumatizes her all over again. The infanticide described in the next few lines is born out of this gruesome experience with whiteness, and her killing the child is a way of reclaiming agency and control of her own life as whiteness has stripped her of everything during her enslavement.

Here, Southey encourages a vindictive form of justice, and inspires vengeance upon slave traders. Southey emphasizes the effects of the slave traders' nefarious deeds, and underscores how morally wrong it is and how the spirit and nature of Africa should have her revenge. Southey highlights the bloodshed and wickedness that has been done at the hands of the European traders, and how this has upset the balance of nature and therefore vengeance is justified. He sets up the stanza almost like a court scene- he lists the crimes, and then decides Europe's guilt and punishment. Southey endows the African land and spirit with the agency to avenge itself for the wrongdoings that has been committed by imperialist European attempts to lay claim and ownership to the land and people.

In this section, Fanny's liminal position is reinforced as she is an outsider both in her family's home and in Mansfield Park. She seems unable to fit in no matter where she goes. Her family is unable to relate to her anymore because she has been raised in an upper class society, yet the upper class Bertrams do not relate to her because she is of lower status. Fanny is really in a class of her own, and here she seems confused as to how to navigate in a world where she does not belong. She finds comfort in her brother William, who also exists as an outsider in between classes as well. As her homecoming fails to meet her expectations, Fanny seems to be realizing she is truly on her own when it comes to family and class in her current status, and that she must learn to make sense of the world she lives in from her position as an outsider.

In this section, we see another instance of free indirect discourse from Mrs. Norris's point of view. While Mrs. Norris is outwardly silent, calm, and composed, her inner outrage is exposed through this glimpse into her thoughts. This selection reveals her true feelings of hostility towards the ball and her relatives, which progresses into a sort of martyrdom and excitement in the thought of taking the credit and glory for the ball. In choosing the reveal Mrs. Norris's inner thoughts, Austen highlights the disconnect between how the characters feel and how they act, underscoring the motif of performance and the rift in communication in the world of the upper class.

The performance carried on by the Bertram family continues in the form of a play, an ironic detail that mirrors the act that the family puts on in order to maintain their image in this society. Edmund highlights how he does not really want to be involved in the show, but he feels that he must, even though he does not like the way it makes him seem inconsistent and therefore harms his image to the outside world; yet his reluctant involvement would still be more palatable than having an outsider in his place, which would be unsuitable in their eyes. Edmund's comment therefore underscores how the correct performance in crucial in their world in order to maintain social status. As the rest of the characters are excited at the opportunity to perform, Fanny, much like in real life, is hesitant. Austen uses the characters' involvement in this play in order to parallel and highlight the way they perform their manners and calculate their personalities in effort to maintain their appearances in the upper class society of the early 19th century.

In the first chapter of Mansfield Park, Austen establishes the rules and customs of English society in the early nineteenth century. The cutthroat marriage market is described in the first paragraph, and sets the tone for the way that the characters view and talk about matrimony throughout the novel. In addition, this particular line also sheds light on the rigidity of the world of English manners, as Lady Bertram's sister, who did not marry up as Lady Bertram and Mrs. Norris did, reaches out for help, the relatives respond by pitying her and sending her help in the least inconvenient way for them. Even when the Bertrams decide to take Fanny Price in, they are not doing so out of the kindness of their hearts but rather as a method of presenting their kindness to the rest of the society. The performative nature of generosity in these first lines of the novel solidify the way these characters control their behavior and manipulate their image to the outside world in order to display their superiority in the realm of the upper class.

The speaker advises Autum not to worry about the impending season change as it starts to approach winter, but instead to focus on the beauty of her own season. Keats describes the understated allure of the season, and urges her to revel in the aspects of the autumnal season that make it beautiful. The speaker recounts the details of fall that set it apart from other seasons, and he encourages that we seize the last moments of abundance and warmth before the inevitable season change. Keats uses the personification of the Autumn goddess and the subsequent descriptions of fall to highlight the temporality of both weather and life, and he suggests hinging on to the beauty of the life that exists in the autumn season.

Wordsworth's use of the phrase "living soul" reveals how the speaker attributes the beauty of this moment to his spiritual awakening. The supreme serenity of nature in this instance has lightened the weight of the world, meaning that the suffering and pain that is an inescapable aspect of the human condition is alleviated by the perfect tranquility of the natural world in this scene. Wordsworth's use of this phrase suggests that the location's unmatched beauty revitalizes the speaker and revives him from the dreary monotony of the everyday world.

The speaker imagines the king coming down from his throne to see the convict face-to-face, which would force him to be confronted with another human's misery. Since the king is a public figure that represents all his people, the king can act as a synecdoche for all of the society; by imagining a king coming to see the convict, the speaker also symbolically imagines the rest of society viewing and realizing the suffering of their fellow human.