As Lionel Trilling has remarked: It depicts Finkle running toward Stella, who is standing under a lamppost dressed in a white dress and red shoes, while Salzman stands next to a wall around the corner, chanting the kaddish, a prayer for the dead.
At their initial meeting, Salzman brings names from which to choose a proper wife for a respectable rabbi. Leo showed the broker the picture of the woman, and told him that she was the girl for him.
It utilizes a familiar Malamud pattern, the fantasy. In this short story, Leo changes a lot because of the plot of the story.
As he arrived at his home he found Salzman at his doorstep. Leo Finkle is also revealed through indirect characterization. The author tells us exactly who Leo is, making him a great example of direct characterization.
Leo is very picky about who he wants to marry, telling readers that he is very particular and thinks highly of himself. Leo decided that he could help her become a better person, thus making Salzman agree to the arrangement.
With Leo helping Salzman at the end each man plays both tutor and tyrothe plot has the familiar reversal, and the story is based on the age-old subject of parent as matchmaker. Salzman, for example, has been linked to such mythical figures as Pan and the Trickster, while Stella has been described as a symbol of eroticism.
The plot is likewise reminiscent of a fairy tale as the prince finally meets the princess and through the intervention of the supernatural agent has a chance at a happy ending.
Commentators have addressed issues concerning the archetypal nature of the characters as well. Consequently, "The Magic Barrel" has generated a wide array of interpretations.
Salzman eventually convinces Finkle to meet a woman named Lily Hirschorn. This is a good example of indirect characterization. When Leo learns who some of his prospects are a widow, a thirty-two-year-old schoolteacher, a nineteen-year-old student with a lame foothe dismisses Salzman.
The author portrays Leo Finkle very well through the methods of characterization. Leo Finkle, the would-be rabbi, has learned the Jewish law but not his own feelings. Here, he blends elements of the traditional fairy tale with Jewish folklore.
Salzman was not there, so Leo sadly went home. In order for the reader to know of these personality traits they must use their own judgment to infer the unidentified personality of Leo Finkle.
He takes refuge in his self-pity a frequent Malamud criticismhe wants a wife not for love but for social prestige, and he uses his religion to hide from life. Leo was informed by a letter to meet the woman, Stella, on a certain corner. As you can see, these methods are crucial in creating each character in a story.
Leo Finkle is revealed through indirect characterization as he makes the decision of which woman to marry. The story also suggests the presence of the miraculous in everyday life. He went to meet the young lady and discovered she was exactly how he had pictured her. During his traumatic encounter with Hirschorn, Finkle recognizes that his life has been emotionally empty and that he has lacked the passion to love either God or other humans.
The author tells readers that Leo is a smart, dedicated person. The marriage broker shows Finkle numerous pictures of potential brides from his "magic barrel" and comments on their qualities, particularly their ages, educational backgrounds, family connections, and the size of their dowries.
Love is a redemptive force earned through suffering and self-knowledge. The author portrays Leo Finkle as a dynamic character. He quickly found the brokers address and went to his home.
Finkle, however, remains strongly attracted to Stella and envisions an opportunity to "convert her to goodness, himself to God. The author, Bernard Malamud, tells readers directly who Leo Finkle is.
This tells readers that Leo is a dedicated and ambitious person. The cards on which they appear, which he has selected from a barrel in his apartment, include significant statistical information: Throughout this story as he meets women and discovers the one he wants to marry, he becomes more motivated to have a social life.
Salzman, however, appears the next evening with good news: He has been assured that the schoolteacher, Lily Hirschorn, is no older than twenty-nine.
The setting is the usual lower-class milieu. Distinctive from the women in the previous photographs, Stella appears to be someone who has lived and suffered deeply.The Magic Barrel- Literary Analysis Introduction “The Magic Barrel” explores many aspects of the theme of self-discovery: the awakening of passion and desire; the definition of identity; the search for love.
The Magic Barrel Analysis Literary Devices in The Magic Barrel. Symbolism, Imagery, Allegory. Setting. The setting takes place "not long ago" in "uptown New York," which gives us a pretty good starting point for parsing the specifics. After all, "The Magic Barrel" keeps things spare, so we have to i.
The Magic Barrel, written by Bernard Malamud infollows the story of Leo Finkle, a reclusive rabbinical student, as he enlists the help of matchmaker Pinye Salzman in finding an appropriate. All writers use literary terms to create a story - The Magic Barrel-Literary Analysis Essay introduction.
Bernard Malamud, the writer of The Magic Barrel, includes many literary elements. Character and characterization are definitely important elements in the short story. This essay will describe how Bernard Malamud creates the character of Leo Finkle through the methods. Symbolism Used in "The Magic Barrel" Written by Michael Stratford.
of Montana, ). He has taught English at the level for more than 20 years. He has written extensively in literary criticism, student writing syllabi and numerous classroom educational paradigms. Photo Credits. "An Analysis of the Characters in ""Los Vendidos""". Essays and criticism on Bernard Malamud's The Magic Barrel - The Magic Barrel Malamud, Bernard critic and literary historian motifs and elements of realism in "The Magic Barrel" and the.Download