Poem & Short Story Analysis
By: Jessika B. and Ivy N.
From a novel or play choose a character whose mind is pulled in conflicting directions by two compelling desires, ambitions, obligations, or influences. Then in a well- organized essay, identify each of the two conflicting forces and explain how this conflict with one character illuminates the meaning of the work as a whole.
The Little Black Boy
By: William Blake
My mother bore me in the southern wild,
And I am black, but O! my soul is white;
White as an angel is the English child:
But I am black as if bereav'd of light.
My mother taught me underneath a tree
And sitting down before the heat of day,
She took me on her lap and kissed me,
And pointing to the east began to say.
Look on the rising sun: there God does live
And gives his light, and gives his heat away.
And flowers and trees and beasts and men receive
Comfort in morning joy in the noonday.
And we are put on earth a little space,
That we may learn to bear the beams of love,
And these black bodies and this sun-burnt face
Is but a cloud, and like a shady grove.
For when our souls have learn'd the heat to bear
The cloud will vanish we shall hear his voice.
Saying: come out from the grove my love & care,
And round my golden tent like lambs rejoice.
Thus did my mother say and kissed me,
And thus I say to little English boy.
When I from black and he from white cloud free,
And round the tent of God like lambs we joy:
Ill shade him from the heat till he can bear,
To lean in joy upon our fathers knee.
And then I'll stand and stroke his silver hair,
And be like him and he will then love me.
By: David Norris
William Blake's The Little Black Boy revolves around the theme of slavery and the ideal slave's mentality. Blake wrote about a black African-American and his experience with slavery. Blake probably expressed his own feelings towards the whites' racism and suppression acts towards African-Americans through the black boy, which is the speaker of the poem.
The poem is about an African-American, who is the speaker of the poem, who remembers his childhood with his mother where she used to teach him about religion and equality. The setting of the poem is somewhere in the Southern United States before the civil war since slaves are still not free. The black boy has a dream, that all humans will be equal, and that his master would love him. The diction in the poem is very simple because Blake is writing the poem in a slave's point of view. Also, the rhyming scheme, which is ABAB, is also very simple emphasizing the same point.
In the first stanza, the boy says "And I am black, but O! my soul is white". Here exists a metaphor where the boy relates goodness and decency to the color white. He says that even though his color is black, which in this case symbolizes ruthlessness, his heart is decent and white. He goes on saying, "White as an angel" which is a simile comparing his heart with the pureness of an angel. He tries to say that the outside color doesn't determine if a person is good or evil and inferior. There is also several instances of imagery in the second stanza where the mother kisses him, and teaches him "underneath a tree" which symbolizes the nature and the open where they live in. The third to the fifth stanza exists a change in the speaker where the mother now is the speaker. She teaches the black boy that in the east and with the rising sun is where God lives. She says, "And gives his light, and gives his heat away" which is a metaphor comparing how god's love is like the heat and light given off by the sun. She explains to the boy that because he is used to working in the sun and heat, he will be able to bear the 'beams of love' given off by God. She further explains that after death, the black slaves will be able to bear the 'heat and light' and so win the final treasure before the whites, who will have to adapt to the 'light and heat'. Also, in the last two lines of the fifth stanza a metaphor exists where God is referred to as the shepherd and people are his lambs. This can also be considered an allusion since this metaphor originally exists in the Bible. In the sixth stanza, the boy refers to the outside looks of people and who people view each other based on looks as clouds, which is a metaphor. He then says that when the clouds vanish, whites and blacks will be equal. Finally, in the last stanza, the boy says that he will provide a shade from God's 'light' until his master can bear that light and enjoy God's prize. Then, the black boy says, his master will love him and the conflict between blacks and whites will be erased.
Blake was very successful in showing the reader the points of view of African-Americans during their slavery period. He used many literary forms to emphasize his ideas such as metaphors and allusion. He was able to make the reader sense the situations and conflicts African-Americans were facing.
By: Kate Chopin
As the day was pleasant, Madame Valmonde drove over to L'Abri to see Desiree and the baby.
It made her laugh to think of Desiree with a baby. Why, it seemed but yesterday that Desiree was little more than a baby herself; when Monsieur in riding through the gateway of Valmonde had found her lying asleep in the shadow of the big stone pillar.
The little one awoke in his arms and began to cry for "Dada." That was as much as she could do or say. Some people thought she might have strayed there of her own accord, for she was of the toddling age. The prevailing belief was that she had been purposely left by a party of Texans, whose canvas-covered wagon, late in the day, had crossed the ferry that Coton Mais kept, just below the plantation. In time Madame Valmonde abandoned every speculation but the one that Desiree had been sent to her by a beneficent Providence to be the child of her affection, seeing that she was without child of the flesh. For the girl grew to be beautiful and gentle, affectionate and sincere,--the idol of Valmonde.
It was no wonder, when she stood one day against the stone pillar in whose shadow she had lain asleep, eighteen years before, that Armand Aubigny riding by and seeing her there, had fallen in love with her. That was the way all the Aubignys fell in love, as if struck by a pistol shot. The wonder was that he had not loved her before; for he had known her since his father brought him home from Paris, a boy of eight, after his mother died there. The passion that awoke in him that day, when he saw her at the gate, swept along like an avalanche, or like a prairie fire, or like anything that drives headlong over all obstacles.
Monsieur Valmonde grew practical and wanted things well considered: that is, the girl's obscure origin. Armand looked into her eyes and did not care. He was reminded that she was nameless. What did it matter about a name when he could give her one of the oldest and proudest in Louisiana? He ordered the corbeille from Paris, and contained himself with what patience he could until it arrived; then they were married.
Madame Valmonde had not seen Desiree and the baby for four weeks. When she reached L'Abri she shuddered at the first sight of it, as she always did. It was a sad looking place, which for many years had not known the gentle presence of a mistress, old Monsieur Aubigny having married and buried his wife in France, and she having loved her own land too well ever to leave it. The roof came down steep and black like a cowl, reaching out beyond the wide galleries that encircled the yellow stuccoed house. Big, solemn oaks grew close to it, and their thick-leaved, far-reaching branches shadowed it like a pall. Young Aubigny's rule was a strict one, too, and under it his negroes had forgotten how to be gay, as they had been during the old master's easy-going and indulgent lifetime.
The young mother was recovering slowly, and lay full length, in her soft white muslins and laces, upon a couch. The baby was beside her, upon her arm, where he had fallen asleep, at her breast. The yellow nurse woman sat beside a window fanning herself.
Madame Valmonde bent her portly figure over Desiree and kissed her, holding her an instant tenderly in her arms. Then she turned to the child.
"This is not the baby!" she exclaimed, in startled tones. French was the language spoken at Valmonde in those days.
"I knew you would be astonished," laughed Desiree, "at the way he has grown. The little cochon de lait! Look at his legs, mamma, and his hands and fingernails,--real finger-nails. Zandrine had to cut them this morning. Isn't it true, Zandrine?"
The woman bowed her turbaned head majestically, "Mais si, Madame."
"And the way he cries," went on Desiree, "is deafening. Armand heard him the other day as far away as La Blanche's cabin."
Madame Valmonde had never removed her eyes from the child. She lifted it and walked with it over to the window that was lightest. She scanned the baby narrowly, then looked as searchingly at Zandrine, whose face was turned to gaze across the fields.
"Yes, the child has grown, has changed," said Madame Valmonde, slowly, as she replaced it beside its mother. "What does Armand say?"
Desiree's face became suffused with a glow that was happiness itself.
"Oh, Armand is the proudest father in the parish, I believe, chiefly because it is a boy, to bear his name; though he says not,--that he would have loved a girl as well. But I know it isn't true. I know he says that to please me. And mamma," she added, drawing Madame Valmonde's head down to her, and speaking in a whisper, "he hasn't punished one of them--not one of them--since baby is born. Even Negrillon, who pretended to have burnt his leg that he might rest from work--he only laughed, and said Negrillon was a great scamp. oh, mamma, I'm so happy; it frightens me."
What Desiree said was true. Marriage, and later the birth of his son had softened Armand Aubigny's imperious and exacting nature greatly. This was what made the gentle Desiree so happy, for she loved him desperately. When he frowned she trembled, but loved him. When he smiled, she asked no greater blessing of God. But Armand's dark, handsome face had not often been disfigured by frowns since the day he fell in love with her.
When the baby was about three months old, Desiree awoke one day to the conviction that there was something in the air menacing her peace. It was at first too subtle to grasp. It had only been a disquieting suggestion; an air of mystery among the blacks; unexpected visits from far-off neighbors who could hardly account for their coming. Then a strange, an awful change in her husband's manner, which she dared not ask him to explain. When he spoke to her, it was with averted eyes, from which the old love-light seemed to have gone out. He absented himself from home; and when there, avoided her presence and that of her child, without excuse. And the very spirit of Satan seemed suddenly to take hold of him in his dealings with the slaves. Desiree was miserable enough to die.
She sat in her room, one hot afternoon, in her peignoir, listlessly drawing through her fingers the strands of her long, silky brown hair that hung about her shoulders. The baby, half naked, lay asleep upon her own great mahogany bed, that was like a sumptuous throne, with its satin-lined half-canopy. One of La Blanche's little quadroon boys--half naked too--stood fanning the child slowly with a fan of peacock feathers. Desiree's eyes had been fixed absently and sadly upon the baby, while she was striving to penetrate the threatening mist that she felt closing about her. She looked from her child to the boy who stood beside him, and back again; over and over. "Ah!" It was a cry that she could not help; which she was not conscious of having uttered. The blood turned like ice in her veins, and a clammy moisture gathered upon her face.
She tried to speak to the little quadroon boy; but no sound would come, at first. When he heard his name uttered, he looked up, and his mistress was pointing to the door. He laid aside the great, soft fan, and obediently stole away, over the polished floor, on his bare tiptoes.
She stayed motionless, with gaze riveted upon her child, and her face the picture of fright.
Presently her husband entered the room, and without noticing her, went to a table and began to search among some papers which covered it.
"Armand," she called to him, in a voice which must have stabbed him, if he was human. But he did not notice. "Armand," she said again. Then she rose and tottered towards him. "Armand," she panted once more, clutching his arm, "look at our child. What does it mean? tell me."
He coldly but gently loosened her fingers from about his arm and thrust the hand away from him. "Tell me what it means!" she cried despairingly.
"It means," he answered lightly, "that the child is not white; it means that you are not white."
A quick conception of all that this accusation meant for her nerved her with unwonted courage to deny it. "It is a lie; it is not true, I am white! Look at my hair, it is brown; and my eyes are gray, Armand, you know they are gray. And my skin is fair," seizing his wrist. "Look at my hand; whiter than yours, Armand," she laughed hysterically.
"As white as La Blanche's," he returned cruelly; and went away leaving her alone with their child.
When she could hold a pen in her hand, she sent a despairing letter to Madame Valmonde.
"My mother, they tell me I am not white. Armand has told me I am not white. For God's sake tell them it is not true. You must know it is not true. I shall die. I must die. I cannot be so unhappy, and live."
The answer that came was brief:
"My own Desiree: Come home to Valmonde; back to your mother who loves you. Come with your child."
When the letter reached Desiree she went with it to her husband's study, and laid it open upon the desk before which he sat. She was like a stone image: silent, white, motionless after she placed it there.
In silence he ran his cold eyes over the written words.
He said nothing. "Shall I go, Armand?" she asked in tones sharp with agonized suspense.
"Do you want me to go?"
"Yes, I want you to go."
He thought Almighty God had dealt cruelly and unjustly with him; and felt, somehow, that he was paying Him back in kind when he stabbed thus into his wife's soul. Moreover he no longer loved her, because of the unconscious injury she had brought upon his home and his name.
She turned away like one stunned by a blow, and walked slowly towards the door, hoping he would call her back.
"Good-by, Armand," she moaned.
He did not answer her. That was his last blow at fate.
Desiree went in search of her child. Zandrine was pacing the sombre gallery with it. She took the little one from the nurse's arms with no word of explanation, and descending the steps, walked away, under the live-oak branches.
It was an October afternoon; the sun was just sinking. Out in the still fields the negroes were picking cotton.
Desiree had not changed the thin white garment nor the slippers which she wore. Her hair was uncovered and the sun's rays brought a golden gleam from its brown meshes. She did not take the broad, beaten road which led to the far-off plantation of Valmonde. She walked across a deserted field, where the stubble bruised her tender feet, so delicately shod, and tore her thin gown to shreds.
She disappeared among the reeds and willows that grew thick along the banks of the deep, sluggish bayou; and she did not come back again.
Some weeks later there was a curious scene enacted at L'Abri. In the centre of the smoothly swept back yard was a great bonfire. Armand Aubigny sat in the wide hallway that commanded a view of the spectacle; and it was he who dealt out to a half dozen negroes the material which kept this fire ablaze.
A graceful cradle of willow, with all its dainty furbishings, was laid upon the pyre, which had already been fed with the richness of a priceless layette. Then there were silk gowns, and velvet and satin ones added to these; laces, too, and embroideries; bonnets and gloves; for the corbeille had been of rare quality.
The last thing to go was a tiny bundle of letters; innocent little scribblings that Desiree had sent to him during the days of their espousal. There was the remnant of one back in the drawer from which he took them. But it was not Desiree's; it was part of an old letter from his mother to his father. He read it. She was thanking God for the blessing of her husband's love:--
"But above all," she wrote, "night and day, I thank the good God for having so arranged our lives that our dear Armand will never know that his mother, who adores him, belongs to the race that is cursed with the brand of slavery."
Désirée is the adopted daughter of Monsieur and Madame Valmondé who are wealthy Creoles in Louisiana. As a baby, she was discovered by Monsieur Valmondé lying in the shadow of a stone pillar near the Valmondé gateway. She is courted by another wealthy, well-known and respected son of a Creole family, Armand. They appear very devoted to one another and eventually have a child. People who see the baby get a sense that something is unusual about it. Eventually they realize that the baby's skin is the same color as a quadroon (one-quarter African) slave boy—the baby is not white. At the setting of the story, this would have been considered a terrible taint.
Because of Désirée's unknown roots, Armand immediately assumes that she is part black although Désirée tries to deny the accusation. Madame Valmondé suggests that Désirée and the baby return to the Valmondé estate. Armand, scornful with Désirée and no longer in love with her, insists on her going. Désirée then takes the child and walks off into a bayou, never to be seen again. Armand then proceeds to burn all of Désirée’s belongings, even the child's cradle, as well as all of the letters that she had sent him during their courtship. With this bundle of letters is also one written from his mother to his father, revealing that Armand is, in fact, the one who is part black.
By: Roslyn Reso Foyle
In Kate Chopin's "Désirée's Baby," Armand's ruthlessness is more psychologically complicated than it appears on first reading. His cruelty toward the slaves, and ultimately toward his wife and child, is not simply a product of nineteenth-century racism. The story transcends its social implications to explore the dark side of personality.
Armand is a man who must deal with a demanding social climate, uphold a position of noblesse oblige, and eventually come to terms with his own heritage. Early in the story, Chopin reveals that Armand was eight years old at the crucial turning point in his life when his mother died and he left Paris with his father. She states that Armand's mother had "loved her own land too well ever to leave it"1 but intimates that there was a reason why she never served as mistress of L'Abri.
Armand was certainly old enough to remember his mother, but circumstances have caused him to suppress the past. Although Chopin offers these clues to Armand's dark side and to his psychological confusion, she leaves it to the reader to decide whether Armand's cruelty springs from social forces and prejudice or whether it is in reality a distant memory of his mother--a repressed, unconscious remembrance of his own past.
Contrasting his father's easygoing and indulgent manner toward the negroes with the strict rule of Armand, Chopin warns of a tragic outcome but does not enlighten us until the very end. With racial prejudice and psychological confusion as the sources of his cruelty, Armand has no choice but to turn from Désirée and the baby. Acting out of his passion for her and the child, Armand experiences an ironic misunderstanding of his duty that takes him to almost tragic proportions. His hatred is the opposite extreme of love. By casting out the passion, he has in a way ended the cruelty and finally must come face to face with himself, the true source of his hatred, anger, and emotional distress. Armand hates the very thing that he is.
Although Armand is ruled by time and place, Chopin clearly indicates that there is much more disturbing this man that eventually permits him to harm his wife and his own flesh. In the brief but poignant story, Chopin delivers a flawed character whose dark side struggles to be set free. The birth of his child and the love of his wife soften him temporarily and perhaps offer him a psychological reprieve, but his actions clearly indicate that he is a man filled with torment and confusion. When Armand reads his mother's letter, he is finally purged of his painful past but is now left to face an uncertain and tragic future.
Kate Chopin stated that the only true subject for great fiction is "human existence in its subtle, complex, true meaning, stripped of the veil with which ethical and conventional standards have draped it."2 Armand moves out of the conventions that have governed his life, and Chopin strips him of the veils that have hidden his real self. In "Désirée's Baby," the complexity of human existence comes face to face with reality.
1. Kate Chopin, "Désirée's Baby," The Norton Anthology of Short Fiction, ed. R. V. Cassill (New York: Norton, 1986) 221.
2. Cynthia Griffin Wolff, ed., Classic American Women Writers (New York: Harper, 1980) 2.