The Imagery of Mother- “The Revolt of "Mother"
Freeman reveals, “She was a small woman, short and straight-waisted like a child in her brown cotton gown. Her forehead was mild and benevolent between the smooth curves of gray hair; there were meek downward lines about her nose and mouth; but her eyes, fixed upon the old man, looked as if the meekness had been the result of her own will, never of the will of another.” This passage propounds mother’s physical form and disposition. Even though mother has as trifling body like a child’s, her ‘gray hair’ denotes her advanced age. Besides, Mother’s modesty is within her control.
The Imagery of the Old Barn- “The Revolt of "Mother"
Freeman explicates, “They were in the barn, standing before the wide open doors. The spring air, full of the smell of growing grass and unseen blossoms, came in their faces. The deep yard in front was littered with farm wagons and piles of wood; on the edges, close to the fence and the house, the grass was a vivid green, and there were some dandelions.” Based on Freeman’s account, the barn is functional; so the new barn is not indispensable. The ‘spring air’ forms a dynamic ambiance.
The Imagery of a New Barn- “The Revolt of "Mother"
As regards the new barn, Freeman writes, “Those great box-stalls, with quilts hung before them, would make better bedrooms than the one she had occupied for forty years, and there was a tight carriage-room. The harness-room, with its chimney and shelves, would make a kitchen of her dreams. The great middle space would make a parlor, by-and-by, fit for a palace. Upstairs there was as much room as down. With partitions and windows, what a house would there be! Sarah looked at the row of stanchions before the allotted space for cows, and reflected that she would have her front entry there.” The new barn is epitome for the family. The architect who set it up did not know ahead of time that the barn would be adapted into the family’s residence. Nevertheless, the aspects of the new barn make it more comfy, for the family, than their old house which is comparable to a box. No doubt residing in the new barn would be calmative for the family.
The Imagery of Joe and Louisa- “The New England Nun”
Freeman illuminates, “He was not very young, but there was a boyish look about his large face. Louisa was not quite as old as he, her face was fairer and smoother, but she gave people the impression of being older.” Clearly, Joe’s “boyish look” obscures his old age. Correspondingly, Louisa applies an old impression to affirm her old age even though she is younger than Joe. The softness and evenness of Louisa’s face is not necessary to bring out her factual age.
The Imagery of Caesar-( “The New England Nun”)
Freeman explains, “Caesar at large might have seemed a very ordinary dog, and excited no comment whatever ; chained, his reputation overshadowed him, so that he lost his own proper outlines and looked darkly vague and enormous.” Caesar is restrained most of the time, so he rarely goes out. The chain is a material constant in Caesar’s life. The binding of Caesar, which persists for fourteen years, is comparable to Louisa’s life because has been tied to a fourteen year old affair that would not culminate in marriage.
