She sat, one leg cramped under her, and deep inside her brain was something like a pinpoint of light that kept going and would not let her relax. Arnold Friend show great interest in Connie and he said himself that he took a special interest in her. As with Tennyson, Hopkins, and Rossetti, Arnold's dominant precursor was Keatsbut this is an unhappy puzzle, since Arnold unlike the others professed not to admire Keats greatly, while writing his own elegiac poems in a diction, meter, imagistic procedure, that are embarrassingly close to Keats.
One bit of dialogue I particularly love is the rambling passage where Friend rattles off all of the catch phrases of the day, one after another. His writings are characterised by the finest culture, high purpose, sincerity, and a style of great distinction, and much of his poetry has an exquisite and subtle beauty, though here also it has been doubted whether high culture and wide knowledge of poetry did not sometimes take the place of true poetic fire.
We start to really wonder who or what Friend is. He said softly, "Now, what you're going to do is this: It was this fact, not the fact of the mass murderer himself, that struck me at the time.
The kitchen looked like a place she had never seen before, some room she had run inside but that wasn't good enough, wasn't going to help her. I cut this here to show you the progression from uncertainty and the possibly welcoming behavior of Connie to her feeling like maybe these guys were really creeps, and should go.
She yelled for help. Arnold Friend speaks far more like a kid than Connie. It is Hawthornean, romantic, shading into parable. Early years[ edit ] The Reverend John Keblewho would become one of the leaders of the Oxford Movementstood as godfather to Matthew.
But something is wrong. Don't you know who I am?
Besides Arnold Friend physical appearance, which makes the reader assume that his character is not a human being, Oates gives him supernatural powers that a normal person could not have.
He indicated his friend with a casual jerk of his chin, as if Ellie did not count and she should not bother with him. You won't want that. Schulz, Gretchen, and R. We get to the final paragraphs as exhausted and stressed out and confused as Connie. It has also been quoted or alluded to in a variety of other contexts see Dover Beach.
The numbers are 33, 19, and Arnold Friend let go of the post tentatively and opened his arms for her, his elbows pointing in toward each other and his wrists limp, to show that this was an embarrassed embrace and a little mocking, he didn't want to make her self-conscious. In the story, Arnold friend is the devil, he went to Connie’s house and tries to get her to go for a ride with him and his friend Elli Oscar so, he can rape and kill her.
Arnold Friend is none other than the devil himself, which shows in his appearance, his speech, his actions and supernatural psychic powers. Matthew Arnold (24 December – 15 April ) was an English poet and cultural critic who worked as an inspector of schools.
He was the son of Thomas Arnold, the famed headmaster of Rugby School, and brother to both Tom Arnold, literary professor, and William Delafield Arnold, novelist and colonial agronumericus.comw Arnold has been characterised as a sage writer, a type of writer who.
Sep 26, · This feature is not available right now. Please try again later. Fifteen-year-old Connie’s acquiescence to Arnold Friend’s threat-ridden seduction is an appropriate finale to Joyce Carol Oates’s “ Where Are You Going, Where Have You Been?” in a narrative which, upon careful analysis, suggests existential allegory.
Arnold Friend is the devil in human form. However, as his physical description progresses, he becomes more unreal and more caricature-like with every trait.
Everything Connie, the protagonist and object of Arnold Friend’s desire, sees is like something else she knows, familiar and recognizable.Download