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

Dialect and melodramatic Monologue of Curtain of Green   Eudora Welty is not merely a resplendent writer, she is a brilliant and gifted storyteller. A product of the Souths rich spontaneous tradition, Welty con boldnessrs the richness of local speech to be atomic number 53 of the greatest gifts that her inheritance has to offer (Vande Kieft 9). southern speech is characterized by talking, listening, and remembering. Welty, a great listener, base many of her stories on bits of dialogue all overheard in her everyday life. However, Welty makes the most of the grey propensity for talking. Her stories are rich in dialect and often use up the piss of dramatic monologues, as in Why I subsist at the P.O. and The Petrified Man. Southern speech is primarily narrative and frequently satisfys the social class of tall tales, folk tales, and local legends. This holds true in Weltys writing, in which one will not find mere conversation, hardly the telling of a story. Often with Welty, the story is not told by dint of 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 estrange from her family following a fight 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 support of the family, one by one the family members take up sides with Stella-Rondo, and Sister states her case to the reader. Stella-Rondo hadnt done a thing but turn her against me from upstairs while I stood there helpless over the hot stove, rants Sister. So that made Mama, Papa-Daddy, and the baby all on Stella-Rondos side (Welty 102). Welty, a true master 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 use o f the Southern vernacular is an important element in every story she writes. One also might notice that it is approximately impossible to read one of Eudora Weltys stories without hearing it as well. Weltys written Southern speech is highly characteristic of how the language is actually spoken. It is the qualities of the spoken war cry that show through in Weltys writing and give it its poetic richness. Although Welty makes frequent use of dialectical spelling and pronunciation, it is through rhythm, idioms, and specified vocabulary that she is adequate to(p) to bring southern speech alive (Brooks 416).