I Must Have Flowers, Always And Always - Claude Monet // Girls And Flowers Details

Whose woods these are I think I know.

His house is in the village though;

He will not see me stopping here

To watch his woods fill up with snow.

My little horse must think it queer

To stop without a farmhouse near

Between the woods and frozen lake

The darkest evening of the year.

He gives his harness bells a shake

To ask if there is some mistake.

The only other sound’s the sweep

Of easy wind and downy flake.

The woods are lovely, dark and deep,

But I have promises to keep,

And miles to go before I sleep,

And miles to go before I sleep.

Lawrence Durrell - Avignon Quintet

Malena

A lesson in the objectification of femininity.

The control taken when you act in superiority by committing yourself to taking action just as was expected.

The seemingly perfect woman taken down by envy, and the elusive catharsis of knowing in depth that their hatred at the end is pure rejection for her, yet completely in inclination seeming to stimulate renascence. Only to know that the answer to her personal incarnation of womanhood is elusive and refuses to be controlled by jealousy.

She walks so long in treacherous heels just to hear of the war and feel complete enough to still know her fiancee, her pain is only that to her staying away from those current announcements kept her from a man she deeply loved. A murderous intent for so many people to have to experience. To be separated from their loved one.

The endings seemed destruction of her integrity is indeed out of jealousy, yet we know nothing of the men in the village except that so many of them were willing to light her cigarette when she clothes herself in the symbolic black fabric in mourning.

In the end she proves her strength in femininity through standing resolute to reception, subtlety and passivity not necessarily indicating weakness.

She refuses to teach them the lessons they wish to only confirm by blaming her beauty. She is neither an analogy or a metaphor for the war. Yet she still teaches them what is necessary in accordance to her.

She begins to them a refusal to seem capable of rescanance, whilst subtly and silently denying the realisation of there's that she is dormant. A state which is associated with virginity and innocence which was shattered by the ambiguity of her rising answer.

Dorothy Dene (1859-1899), born Ada Alice Pullen, was an English stage actress and artist’s model for the painter Frederick Leighton and some of his associates. Dene was considered to have a classical face and figure and a flawless complexion. Her height was above average and she had long arms, large violet eyes and abundant golden chestnut hair.

Honesty