Dialect and Dramatic Monologue of Curtain of Green :: Curtain of Green Essays

Dialect and Dramatic Monologue of Curtain of jet-propelled plane   Eudora Welty is not merely a brilliant writer, she is a brilliant and apt storyteller. A product of the Souths racy oral tradition, Welty considers the richness of topical anaesthetic barbarism to be superstar of the greatest gifts that her heritage has to offer (Vande Kieft 9). grey nomenclature is characterized by talking, listening, and remembering. Welty, a great listener, based many of her stories on bits of converse overheard in her everyday life. However, Welty makes the most of the southern propensity for talking. Her stories are rich in dialect and often take the form of prominent monologues, as in Why I live at the P.O. and The Petrified Man. Southern delivery is primarily narrative and frequently takes the form of tall tales, folk tales, and local legends. This holds true in Weltys writing, in which one will not develop mere conversation, but the telling of a story. Often with Welty, the s tory is not told through the narrator, but rather by the characters (53). It is through this structure that the dramatic monologue appears. In Weltys Why I Live at the P.O., the postmistress of china Grove, referred to only as Sister, is systematically alienated from her family following a involvement with her sister, Stella-Rondo, whom she accuses of stealing and running off with her boyfriend, Mr. Whitaker. As the two sisters compete for the reinforcement of the family, one by one the family members take up sides with Stella-Rondo, and Sister states her fiber to the reader. Stella-Rondo hadnt done a thing but turn her against me from upstairs spot I stood there helpless over the hot stove, rants Sister. So that make Mama, Papa-Daddy, and the baby all on Stella-Rondos side (Welty 102). Welty, a true overwhelm of language, never received any form of formal education in the field of writing. She was educated through her surroundings, through listening and remembering. Weltys u se of the Southern vernacular is an important element in every story she writes. bingle also might notice that it is nearly impossible to read one of Eudora Weltys stories without hearing it as well. Weltys written Southern reference is highly lineament of how the language is actually spoken. It is the qualities of the spoken word that show through in Weltys writing and give it its poetic richness. Although Welty makes frequent use of dialectical spell out and pronunciation, it is through rhythm, idioms, and specified vocabulary that she is able to bring southern speech alive (Brooks 416).