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SparkNotes: In Cold Blood: Analysis
The imagery throughout is that of the Earth itself, of the fundamental categories of existence: the knife and associated images from the mineral kingdom (the silver dagger stuck in the horse’s eyes, the pins from the bridal wreath, the glass splinters stuck in the tongue of the Bride, the nails, the metal chain, the frost and snow, the Moon, the ashes); from the vegetable kingdom the flowers, weeds, wheat, bread with which the fathers and sons of men are identified (Man is a “mirror of the earth”); and from the animal kingdom the man himself, inseparable from his horse; the woman associated with the serpent; the birds. The supreme image of the play is blood, with its analogue and opposite water. Both blood and water are ambivalent symbols, as are many of the images of the play that connote both life and death (the knife and the Moon, male and female symbols of fertility as well as of coldness and death; the serpent, a symbol of fertility and of treachery; the bird—the luminous dove associated with the Bridegroom, traditional Catholic symbol of the Holy Spirit, divine instrument of fecundation, and the “great bird with immense wings” that is Death).
There are two ways the theme of death is developed in this play. First, there is death as the end, and the enemy, of mortal life. Death as an inevitable end that must be accepted is developed through the character of the Mother, who often laments the deaths of loved ones, while stoically enduring these painful losses nevertheless. There is more to this first theme of death than death’s inevitability, however. The passionate bond of the lovers gives shape to another aspect. Their bond represents human life in general as being characterized by our connections to others. Death, therefore, kills not only our physical body, it also puts an end to that which makes us human. In claiming a person’s life, Death sunders human bonds. Lorca introduces and develops this of death in the actions of his characters. For example, it is learned at the play’s outset that the Mother’s husband and one son were violently killed. One way the Mother mourns these events is by pointing to the fact that the killers reside seemingly content in jail. Not only do the killers escape real punishment, but she, the wholly innocent one, is the one being punished by having been deprived of her loved ones, and they, the loved ones, are being punished by having been deprived of their share of life. Death does not simply end life, it is anathema to it by destroying precious connections. Hence the play’s characterization of death as a cruel and cold beggar woman who acts as the
Scored In Cold Blood timed essay and re-write; ..
Gunnar Boklund gives a reason for the highlighting of the melancholy aspect of the protagonist in Shakespeare’s Hamlet in his essay “Judgment in Hamlet”: In the tragedy of Hamlet Shakespeare does not concern himself with the question whether blood-revenge is justified or not; it is raised only once and very late by the protagonist (v,ii,63-70)and never seriously considered....
Death (also known as Beggar Woman and Old Woman) as a beggar woman is an outsider to the play’s community who does not bother herself with the community’s pain. On the contrary, she seems to enjoy the proceedings, and as Death she thirsts after every life with which she comes into contact. Her bloodthirstiness and emotional coldness suggest how death is thought of by mere mortals, who view its inevitability and demands as anathema to human wishes and hopes.
Essays and criticism on Truman Capote's In Cold Blood - Critical ..
Ironically, the blood has been a part of the wedding festivities. It is introduced in the second lyric of Act II, a soliloquy of the servant. This lyric also anticipates the blood, water, and fire imagery of Act III:
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