Wow! These must be the most exciting chapters I've read throughout the entire journey of this novel. For once, I really got into the book, and didn't want to put it down. The narrative structure of these chapters is very skewed, as each chapter is sort of told from a different point of view. We begin, as Kathleen is dying in bed; a very rude awakening from the slow pace of the last chapter. She is dying in childbirth in the attic, and Maternia makes a split second decision to let her daughter die to save the twin babies she is birthing. Three days after she makes this decision, she kills herself in the oven. As we move into The Mass Card we see Frances at the church when her mother has died. From there, we go back in time to see James having a mental breakdown, because of the death of Kathleen; Maternia is still alive at this point. Young Frances decides, that since her father is not going to baptize the babies, she shall do it herself in the river. She baptizes the girl first, but then, upon hearing her father coming, accidentally drowns the baby boy. We progress to the funeral of Kathleen, and then to Mercedes point of view as she comes downstairs just in time to see Maternia kill herself. From there, we backtrack to see how Mercedes watched from her bedroom window as Frances accidentally drowned the baby boy on the night of his birth.
So much to say about this section! I feel like the pieces have finally come to fit!
I really enjoyed how MacDonald began this chapter suddenly, with Kathleen almost dying. It gave us a sense that death is sudden, and a life full of promise and youth can be snuffed out by death, with no forgiveness or mercy. The reader contrasts the youthful cheeky Kathleen, who seemed to be the centre of the story in the previous section, to the dead Kathleen in this section. Kathleen, fearsome, powerful in life is now: "An abandoned mine. A bootleg mine, plundered, flooded; a ruined and dangerous haft, stripped of fuel and coal, of fossil ferns and sea anemones and bones.." (MacDonald 136) It made me think that, everyone is the "hero" of their own story, just as Kathleen was the main character here. But death can occur at any given time, without empathy or discrimination, and it will leave you bare and empty, with no use to the world. It was just a really powerful way of saying that life is very delicate, and one isn't guaranteed any time in this world, before one's great resources become an abandoned mine.
Obviously, guilt is a big theme in this chapter. Maternia killed herself because she felt guilty letting Kathleen die. She knows that "the real reason I let my daughter die was because she was better off that way" (MacDonald 138). Here, we see an interesting contrast in Maternia. She told The Devil previously that she'd let him take Kathleen, if he'd spare her other daughters. However, it is now apparent that he's taken Maternia with him, as well as Kathleen. However, Maternia swore she had no love for her daughter. Her guilt does not stem from her religion; she did the right thing in God's eyes. The guilt was enough for her to clean everything in her house meticulously (not unlike Shakespeare's Lady Macbeth,) before succumbing to her grief. It guilt inevitable in some situations, no matter what good choice is made?
Mr Mahmoud refuses to come to Maternia's funeral: "For him the funeral is redundant" (MacDonald 141). Did Maternia really die when she met James and became unhappy? She has been described as being a zombie-like woman for the majority of her time with James. Was she just ready to leave her body, as her "spirit" had already passed with such traumas at such a young age? This reader personally feels a little relief for poor Maternia; she is not suffering under the roof of James any longer.
The tragic innocence, and loss of innocence is explored through the characters of Frances and Mercedes in this section. When Kathleen is close to dying the two girls "have made a little shrine and given up sweets for as long as it takes her to get well" (MacDonald 146). Here, before the loss of innocence, the girls are still young, and still believe that not eating candy and sweets with result in their sister getting better. Such adorable behaviour, is turned around when the events begin to spin out of control. Mercedes becomes a stronger character, "When her nerves have heated up enough, when they are white-hot, they'll be plunged into cold water, tempered and strong for ever. Strong enough to support a building or a family.." (MacDonald 155). We also learn that Frances has learned how to lie (as mentioned in the above paragraph. We can begin to see the outline of both their characters; Mercedes is courageous and righteous, while Frances might have a manipulative side to her. MacDonald foreshadows from Mercedes' eyes: "Why is she so bad? Some people are just made that way" (MacDonald 156).
Again, the theme of perception is revisited. Frances, in the church laughs, but her father thinks she is crying: "Frances learns something in this moment that will allow her to survive and function for the rest of her life. She finds out that one thing can look like another" (MacDonald 142). This section is also told from very different points of view, as we see almost each scene from a different character's eyes. Like the memories we are being presented by the narrator, how much of what we see is what we get? Are there other secrets, just like in any family, that have yet to be uncovered?
Strange to me, Pete, the demon that haunts Kathleen appears to her before she dies. Is this the devil that Maternia has allowed to take Kathleen? Is it symbolic of James and his chilling relationship with his daughter? Is it symbolic of the environment she grew up in? After Frances accidentally drowns the baby, "The only thing different about this morning is that, if you look out at the garden, you'll notice that the scarecrow is gone, and in it's place there's a big rock" (MacDonald 156). The reader is left to wonder where the scarecrow went, and if it had any correspondence to the loss of Kathleen and the appearance of Pete. The reader is not not if the scarecrow leaving is frightening, or a relief. MacDonald uses cliffhangers in many of her chapters; this page is no different.
I love the dark humour that is a constant throughout the story. MacDonald uses witty, sharp lines to add grim laughs into the story: "Mercedes was going to bake it in the oven. But her mother is using the oven" (MacDonald 152). This of course is a reference to the time that Maternia has killed herself in the oven. this casual, innnocent approach to the suicide of a mother is horrible, yet sort of hilarious in a very evil way.
The baby that is accidentally drowned is named Ambrose, and St. Ambrose's quotes appear on each of the dead Piper's mass cards. The name Ambrose means immortal in Latin. From what I can gather about the next few chapters, the metaphorical ghosts of the dead Pipers "haunt" the pages of the novel, as in they never really die. As in they are immortal. Just a thought!
Interesting Vocabulary
-Respite: A short period of rest. Kathleen has a respite before she dies in childbirth.
-Wimple A cloth headdress. Frances observes that the Nun's wimples look like gothic cathedrals.
-Phalanx A group of people together for a common purpose.
-Complaisant Agreeable or pleasing. James observes his mental picture of Mary and Jesus, saying they look as such.
Saturday, November 27, 2010
Wednesday, November 24, 2010
The Candy of Strangers, Lady Liberty & The Children's Hour
In these chapters, James comes home from the war and, in his newfound manic state, asks Maternia's parents for money to send Kathleen to New York. Strangely, Kathleen has fallen out of favour with James; he sees her as a completely different person Somewhat reluctantly, they oblige, and Kathleen heads off the the big city. However, while here, she falls in love and becomes somewhat frustrated with her craft of singing. A mysterious letter comes to James, that is signed by an anonymous stranger. Upon receiving this well-written letter, James immediately ships Kathleen back from New York City. This chapter was generally really confusing. I think it is so, because as a reader, we are supposed to feel like voyeurs, only seeing about half of what is really going on, speculating and gathering memories of the Piper family.
A big theme in this section is change. The narrator notes that: "The Great War was the greatest changer of them all" (MacDonald 115). Here, there is a historical turning point, and a directional change in the plot. The reader gets the feeling that things will begin to rapidly escalate, in wither a positive or negative direction. Also, we get the feeling that characters' attitude towards each other, and even their own personalities will evolve, or perhaps even backtrack. MacDonald wants to inform her readers that what they know from the previous chapters is almost null and void; that was then, this is now.
Throughout this section we get an intimate look on the private lives of Mr. and Mrs. Mahmouds, Maternia's well-off Lebanese parents that disowned her when she chose to leave their household for James. It becomes clear that the relationship between Maternia's parents and the relationship that Maternia has with James share certain similarities. Both men in the relationships are stern and cold, while the woman is quiet and demure, always looking for ways to please their husbands. Mrs. Mahmoud tries very hard to make her spouse happy: "She is wearing her moonstone ring and strand of genuine pearls to please her husband" (MacDonald 119). Mr. Mahmoud is ironically, a lot like James. He thinks always like a businessman, thinking only of ways to make himself look better, and exploiting every oppurtunity to get ahead: "He tells himself that he does it for Giselle. But as he writes the third zero, he reflects upon the future of the family voice. Universally acclaimed. The crowning glory of his success in the New World" (MacDonald 120). This remins me of several psychology articles I have read, who observe that when a woman looks for a partner, they look for someone who subconsciously reminds them of their father. While I understand that the Mahmouds' interpretation of marital roles was somewhat the social normalcy at the time, I believe MacDonald included this so that the reader could ponder family relationships. Do our parents' relationships dictate our relationships? Are we always doomed to repeat what we have seen growing up? Is our fate wholly or partially decided by those around us? Will we, without a doubt, become our parents inevitably? Could the relationship of Maternia and James be part of a vicious cycle?
When Kathleen makes her departure to NYC, a quote is placed, like at the start of most chapters, before the action starts. The quote is from Claudia, a book Kathleen read under her schoolbooks back in Holy Angels school: "Girl as she was, Claudia looked upon the world before her like some untried knight" (MacDonald 122). We see that Kathleen will soon embrace the new world she lives in. She already feels as if she has control over her life. She is a very confident, unshakeable young lady, as she leaves Cape Breton for the first time. While Kathleen is a strong character (admirable for such a quality,) she is not a particularly nice character. Ruthless, selfish and egotistical, the problem with Kathleen is that she does not realize her faults.
We are also introduced to Kathleen's guardian in NYC: a woman named Giles. She volunteers at a convent, and often tends to dying nuns. The narrator grimly exposes that, "Ancient sins bloom afresh, fragrant with the purity they possessed a moment before they were named and nipped in the bud" (MacDonald 124). Here, MacDonald compares the old sins that concerned nuns blurt out before they kick the bucket, to flowers that bloom when time is running out. This is discomforting to the reader, and it gives a sense of insecurity, simply because of the uncertainty of death. If nuns panic before they die, what can be said for the rest of us?
A well used alliteration helps bring to life the chaos and fast-paced lifestyle that Kathleen has been swept into whilst in NYC: "Between sadistic singing lessons with the maestro and suffocating sedate suppers with Giles, Kathleen walks the length and breadth of the island of Manhattan" (MacDonald 125). This adds momentum to MacDonald's writings.
Finally, the two younger girls at home learn to read all by themselves: "The glass of the mirror has simply melted away, and now they are free to enter as many worlds as they like, together or alone" (MacDonald 131). This metaphor is used to illustrate that the girls have grown up; they no longer rely on others, and are now "free" from their parents. For better or worse, they are close to being emancipated.
When James is bonding with Frances and Mercedes, a short poem is included entitled The Children's Hour, hence the title of the chapter it is located in. The poem was written in the 1860s, and the narrator, Henry Wadsworth Longfellow depicts a wonderful life with his three daughters. This is ironic, considering the crippled relationship James has with one of his daughters, and the overall strange family parallels that the Piper family harbour. This book is so full of allusions and obscure references, that it is difficult to look up every single mention throughout the story. It is a challenging read, mostly because I know very little of popular culture in the early 1900s.
Interesting Vocabulary
Civvies- Slang for street clothes. James walks back to his house in these. It is a symbol; his wartime heroism has been forgotten and he is just plain old James again.
Pre-eminent- Very important and distinguished. James looks for the pre-eminent teacher of music for Kathleen in NYC.
Trousseau- A dowry for a single woman. Teresa is getting hers ready for when she marries.
A big theme in this section is change. The narrator notes that: "The Great War was the greatest changer of them all" (MacDonald 115). Here, there is a historical turning point, and a directional change in the plot. The reader gets the feeling that things will begin to rapidly escalate, in wither a positive or negative direction. Also, we get the feeling that characters' attitude towards each other, and even their own personalities will evolve, or perhaps even backtrack. MacDonald wants to inform her readers that what they know from the previous chapters is almost null and void; that was then, this is now.
Throughout this section we get an intimate look on the private lives of Mr. and Mrs. Mahmouds, Maternia's well-off Lebanese parents that disowned her when she chose to leave their household for James. It becomes clear that the relationship between Maternia's parents and the relationship that Maternia has with James share certain similarities. Both men in the relationships are stern and cold, while the woman is quiet and demure, always looking for ways to please their husbands. Mrs. Mahmoud tries very hard to make her spouse happy: "She is wearing her moonstone ring and strand of genuine pearls to please her husband" (MacDonald 119). Mr. Mahmoud is ironically, a lot like James. He thinks always like a businessman, thinking only of ways to make himself look better, and exploiting every oppurtunity to get ahead: "He tells himself that he does it for Giselle. But as he writes the third zero, he reflects upon the future of the family voice. Universally acclaimed. The crowning glory of his success in the New World" (MacDonald 120). This remins me of several psychology articles I have read, who observe that when a woman looks for a partner, they look for someone who subconsciously reminds them of their father. While I understand that the Mahmouds' interpretation of marital roles was somewhat the social normalcy at the time, I believe MacDonald included this so that the reader could ponder family relationships. Do our parents' relationships dictate our relationships? Are we always doomed to repeat what we have seen growing up? Is our fate wholly or partially decided by those around us? Will we, without a doubt, become our parents inevitably? Could the relationship of Maternia and James be part of a vicious cycle?
When Kathleen makes her departure to NYC, a quote is placed, like at the start of most chapters, before the action starts. The quote is from Claudia, a book Kathleen read under her schoolbooks back in Holy Angels school: "Girl as she was, Claudia looked upon the world before her like some untried knight" (MacDonald 122). We see that Kathleen will soon embrace the new world she lives in. She already feels as if she has control over her life. She is a very confident, unshakeable young lady, as she leaves Cape Breton for the first time. While Kathleen is a strong character (admirable for such a quality,) she is not a particularly nice character. Ruthless, selfish and egotistical, the problem with Kathleen is that she does not realize her faults.
We are also introduced to Kathleen's guardian in NYC: a woman named Giles. She volunteers at a convent, and often tends to dying nuns. The narrator grimly exposes that, "Ancient sins bloom afresh, fragrant with the purity they possessed a moment before they were named and nipped in the bud" (MacDonald 124). Here, MacDonald compares the old sins that concerned nuns blurt out before they kick the bucket, to flowers that bloom when time is running out. This is discomforting to the reader, and it gives a sense of insecurity, simply because of the uncertainty of death. If nuns panic before they die, what can be said for the rest of us?
A well used alliteration helps bring to life the chaos and fast-paced lifestyle that Kathleen has been swept into whilst in NYC: "Between sadistic singing lessons with the maestro and suffocating sedate suppers with Giles, Kathleen walks the length and breadth of the island of Manhattan" (MacDonald 125). This adds momentum to MacDonald's writings.
Finally, the two younger girls at home learn to read all by themselves: "The glass of the mirror has simply melted away, and now they are free to enter as many worlds as they like, together or alone" (MacDonald 131). This metaphor is used to illustrate that the girls have grown up; they no longer rely on others, and are now "free" from their parents. For better or worse, they are close to being emancipated.
When James is bonding with Frances and Mercedes, a short poem is included entitled The Children's Hour, hence the title of the chapter it is located in. The poem was written in the 1860s, and the narrator, Henry Wadsworth Longfellow depicts a wonderful life with his three daughters. This is ironic, considering the crippled relationship James has with one of his daughters, and the overall strange family parallels that the Piper family harbour. This book is so full of allusions and obscure references, that it is difficult to look up every single mention throughout the story. It is a challenging read, mostly because I know very little of popular culture in the early 1900s.
Interesting Vocabulary
Civvies- Slang for street clothes. James walks back to his house in these. It is a symbol; his wartime heroism has been forgotten and he is just plain old James again.
Pre-eminent- Very important and distinguished. James looks for the pre-eminent teacher of music for Kathleen in NYC.
Trousseau- A dowry for a single woman. Teresa is getting hers ready for when she marries.
Monday, November 22, 2010
Three Sisters, Women of Canada, Dulce Et Decorum, The Bobbseys At Home & Boots (Chapter 16-20)
In these series of chapters, some very important advances were made in the characterization of James in the war. As the plot of the story becomes stranger and stranger, the reader begins to question the motives of the author. MacDonald adds several things into the story, that are seemingly unnecessary filler. However, the experience of the last few chapters tells me that everything added into this book is there for a specific purpose. Kathleen and her younger sisters begin to bond. Maternia receives letters from James that are almost useless, as he never adds any details into his messages. Maternia feels somewhat guilty, for she wishes death on James. Meanwhile, James in the trenches is changing as a character. He is eventually discharged, for what they say is a severed toe, but in actuality, he is mentally unfit to continue in the war.
A part of these chapters that really struck a chord with me, and I suspect many other readers, is when the author reveals that Mrs. Luvovitz's children are going to fight in the war. However, there is a twist to this development: "Her boys will be fighting their own flesh and blood. The Luvovitzes are real Canadians, and the Feingolds are real Germans" (MacDonald 102). Here we see that there is an obvious struggle with identity, not only for the children of the Luvovitzes, but for Canada as a whole. We are reminded of the changing of times in Canada in this time period. The Second World War mimics the conflicts that are occurring in the home of the Pipers.
Maternia contemplates suicide in this chapter. She wishes to jump to her death off the cliffs that she has visited for so long, and be dead in the ocean. For Maternia, the water here symbolizes a fresh start, almost as if it is a rebirth in death. MacDonald uses personification to highlight this fact: "It's where she belongs, she craves the caress of the violent shore, to come alive like that once more in a clash of stone and then to die" (MacDonald 105). Maternia feels dead already, and expresses that she would find a relief in death, as the fall would make her feel alive once more. The reader is on Maternia's side; she is one of the many characters that we sympathize with in this novel.
We also sympathize with the tragic Mrs. Luvovitz, who is proof that tragic things can happen to otherwise good people. Mrs. Luvovitz is only human, however, and humans have good and bad points. She wishes for James to be killed in the war, much like Maternia secretly does: "Benny says that's prejudice. It isn't. It's superstition" (MacDonald 105). Judgement and prejudice, as well as perception are huge themes in this novel. While everyone judges each other in the novel, the reader is able to see the positive and negative in everyone. There are no "black and white" characters; everyone is a spectrum, so judgement should not be used.
The Secrets of Fatima are mentioned in this section. However, this was a title in the pervious sections of the book. Could it be that MacDonald is using the titles of the chapters as foreshadowing to what could happen? It seems a little obvious, but I'll be looking for that pattern in the remainder of the novel.
James's characters becomes more complex and troublesome. He is described as having "'Total disregard for his own safety'" (MacDonald 109) by his fellow soldiers. It becomes evident that James doesn't want to live anymore, though it is not clear why. He has generally been a pessimistic and dangerous charcater. However, his grand plans for Kathleen and his newfound want to die are conflicting. I think a combination of war, his failing reltionship with Maternia and the fact that he has lost/is losing Kathleen to distance and her rapidly increasing age has made him feel like he has nothing left in his life. I'm not sure if the average reader feels sorry for James, but I do. His character reminds me of the mention of the fatal flaw in our class discussions. MacDonald paints him as a tragic character, with several weaknesses, such as Kathleen and his exremely high expectations, that will eventually lead to his demise.
James has a highly competitive nature. He likes to win, and he likes to be correct. In the chapter entitled Boots, James decides that in order to win the war, he must make the best boots: "We will win because we have more and better boots. Boots determine history. Warm dry feet will allow us to go on being killed longer than the enemy. When the enemy's boots wear out, they will no longer be able to run in waves into our machine-gun fire, and they will surrender" (MacDonald 112). I am struggling to understand why MacDonald included James's bizarre logic into the novel. I think this is here to show his descent into possible insanity. While his point is somewhat logical, he obsesses over boots. James has become more obsessive and more obsessed by unfeasible illogical ideas. I predict that the boots are just symbolically representing Kathleen. I feel like the Piper women will be in greater danger upon the homecoming of the man of the house.
In describing James, MacDonald used an interesting allusion: "James's superiors do not refer to him as 'Rudolph'; they call him 'Lady Macbeth'" (MacDonald 114). James is being compared to Lady Macbeth, a greedy, vicious character that committed horrible crimes and died because of their own guilt. When Lady Macbeth died, natural order was restored. Could a similar fate be in store for James?
Before learning of James's homecoming, Mercedes, Frances and Kathleen read The Red Shoes, a story by Hans Christian Anderson that tells of a girl that was to vain and rude to her adoptive mother, that she was forced to dance in her red shoes, until she cut her feet off. She was only saved by praying to God. It is an ironic allusion, considering that Kathleen fits the description of the girl in the story perfectly. MacDonald uses a lot of allusions for the purpose of foreshadowing, and I wouldn't be surprised if this was included.
Interesting Vocabulary
Bodechean: Has different meanings for different regions. Generally thought of as a demonic/mythical creature. Kathleen describes Pete as such. It is still unclear why Pete is haunting Kathleen. Is he real, or is he imaginary?
Unabsolved: To un-free, or be contained. Maternia is this way when the priest does not understand her perceived level of sin.
Untrammelled: Not censored or chained in speech or thought. Kathleen believes that the free untrammelled girl must be brought to the throne of fashion for sacrifice.
Dulce et Decorum: Translates roughly into "For one's own country". Title of the chapter in which James describes his wartime life.
Parapet: A wall.
A part of these chapters that really struck a chord with me, and I suspect many other readers, is when the author reveals that Mrs. Luvovitz's children are going to fight in the war. However, there is a twist to this development: "Her boys will be fighting their own flesh and blood. The Luvovitzes are real Canadians, and the Feingolds are real Germans" (MacDonald 102). Here we see that there is an obvious struggle with identity, not only for the children of the Luvovitzes, but for Canada as a whole. We are reminded of the changing of times in Canada in this time period. The Second World War mimics the conflicts that are occurring in the home of the Pipers.
Maternia contemplates suicide in this chapter. She wishes to jump to her death off the cliffs that she has visited for so long, and be dead in the ocean. For Maternia, the water here symbolizes a fresh start, almost as if it is a rebirth in death. MacDonald uses personification to highlight this fact: "It's where she belongs, she craves the caress of the violent shore, to come alive like that once more in a clash of stone and then to die" (MacDonald 105). Maternia feels dead already, and expresses that she would find a relief in death, as the fall would make her feel alive once more. The reader is on Maternia's side; she is one of the many characters that we sympathize with in this novel.
We also sympathize with the tragic Mrs. Luvovitz, who is proof that tragic things can happen to otherwise good people. Mrs. Luvovitz is only human, however, and humans have good and bad points. She wishes for James to be killed in the war, much like Maternia secretly does: "Benny says that's prejudice. It isn't. It's superstition" (MacDonald 105). Judgement and prejudice, as well as perception are huge themes in this novel. While everyone judges each other in the novel, the reader is able to see the positive and negative in everyone. There are no "black and white" characters; everyone is a spectrum, so judgement should not be used.
The Secrets of Fatima are mentioned in this section. However, this was a title in the pervious sections of the book. Could it be that MacDonald is using the titles of the chapters as foreshadowing to what could happen? It seems a little obvious, but I'll be looking for that pattern in the remainder of the novel.
James's characters becomes more complex and troublesome. He is described as having "'Total disregard for his own safety'" (MacDonald 109) by his fellow soldiers. It becomes evident that James doesn't want to live anymore, though it is not clear why. He has generally been a pessimistic and dangerous charcater. However, his grand plans for Kathleen and his newfound want to die are conflicting. I think a combination of war, his failing reltionship with Maternia and the fact that he has lost/is losing Kathleen to distance and her rapidly increasing age has made him feel like he has nothing left in his life. I'm not sure if the average reader feels sorry for James, but I do. His character reminds me of the mention of the fatal flaw in our class discussions. MacDonald paints him as a tragic character, with several weaknesses, such as Kathleen and his exremely high expectations, that will eventually lead to his demise.
James has a highly competitive nature. He likes to win, and he likes to be correct. In the chapter entitled Boots, James decides that in order to win the war, he must make the best boots: "We will win because we have more and better boots. Boots determine history. Warm dry feet will allow us to go on being killed longer than the enemy. When the enemy's boots wear out, they will no longer be able to run in waves into our machine-gun fire, and they will surrender" (MacDonald 112). I am struggling to understand why MacDonald included James's bizarre logic into the novel. I think this is here to show his descent into possible insanity. While his point is somewhat logical, he obsesses over boots. James has become more obsessive and more obsessed by unfeasible illogical ideas. I predict that the boots are just symbolically representing Kathleen. I feel like the Piper women will be in greater danger upon the homecoming of the man of the house.
In describing James, MacDonald used an interesting allusion: "James's superiors do not refer to him as 'Rudolph'; they call him 'Lady Macbeth'" (MacDonald 114). James is being compared to Lady Macbeth, a greedy, vicious character that committed horrible crimes and died because of their own guilt. When Lady Macbeth died, natural order was restored. Could a similar fate be in store for James?
Before learning of James's homecoming, Mercedes, Frances and Kathleen read The Red Shoes, a story by Hans Christian Anderson that tells of a girl that was to vain and rude to her adoptive mother, that she was forced to dance in her red shoes, until she cut her feet off. She was only saved by praying to God. It is an ironic allusion, considering that Kathleen fits the description of the girl in the story perfectly. MacDonald uses a lot of allusions for the purpose of foreshadowing, and I wouldn't be surprised if this was included.
Interesting Vocabulary
Bodechean: Has different meanings for different regions. Generally thought of as a demonic/mythical creature. Kathleen describes Pete as such. It is still unclear why Pete is haunting Kathleen. Is he real, or is he imaginary?
Unabsolved: To un-free, or be contained. Maternia is this way when the priest does not understand her perceived level of sin.
Untrammelled: Not censored or chained in speech or thought. Kathleen believes that the free untrammelled girl must be brought to the throne of fashion for sacrifice.
Dulce et Decorum: Translates roughly into "For one's own country". Title of the chapter in which James describes his wartime life.
Parapet: A wall.
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