Lytton Stracheys View Of Florence NightingaleEssay Preview: Lytton Stracheys View Of Florence NightingaleReport this essayThrough full, rich diction and symbolic imagery, Lytton Strachey conveys to the reader a side of a woman that most people dont see. What Strachey saw in Florence Nightingale was not just the image of a self sacrificing British nurse history has painted for us. Lytton Strachey actually attacks Nightingale. He portrays a somewhat more neurotic character than what others perceived and focuses on the speculation and intrigue which arose around her. Strachey successfully conveys his eminent views of Florence Nightingale by using various literary techniques. Because of its intense diction and flowing syntax, the passage unveils the struggles Florence survived in order to reach her goal in becoming a nurse and helping others in medical need. In this biased all-knowing view of Nightingales life, Strachey utilizes figurative diction, demonic imagery paired with a sarcastic tone, and syntax to convey his thoughts on everyones misconception of Nightingale. Strachey does not sanctify Nightingale but exercises a courtly respect for her. He still shows admiration for how she overcame the obstacles she faced in becoming a nurse.
In the beginning of the passage Strachey displays a clear respect for Nightingales tenacious ability to follow her dream. Yet not long after, Strachey expresses a cynical tone towards Nightingales accomplishments. The introduction begins with an elaborate description of the well-known portrait of Nightingale. Then, Lytton Strachey suddenly shifts to heart-wrenching questions pouring from her very soul. This change in speaker also unexpectedly shifts the tone to one of disbelief. Coming back to the tone at the beginning of the passage, Strachey once again describes Florence as an powerful girl, overcoming all odds and succeeding at what she wanted most – to be a nurse: “a weaker spirit would have been overwhelmedbut this…young woman held firm.” His respect obvious admiration for Nightingale,
‧. It seems he does not yet know the reason of this change in the tone, but must he find out about Florence’s family history and some strange new tidings, if he will be capable of making such a decision? Strachey makes it clear that a strong and loyal character is needed for a writer to succeed on the stage, but as one who has worked through so much of her childhood, Strachey is quick to express her own thoughts on her own family. He then refers to her, as well as the mother, as a good friend and friend in her family, and gives further hints to this point, including that the mother is a good man, one who will care for the children as well„ with some confusion in this tone. But it is true that the father is a good man, and would love the children as well. And as such, the mother also can make a wonderful man. And as a good man, he will care for the children as well.‟#8224•#8227•#8228;a strong and strong character. I hope that this new language, and other such sentences such as in this volume, will awaken a new and improved appreciation for Florence and her mother. And it would be so important to learn from Strachey this new translation. Strachey now presents a very rich portrait of Florence through his drawings of her family and the characters of her childhood, and also at the beginning gives an unexpected new explanation on what makes such an attractive portrait even more attractive than for example, the portrait of the Princess who would be in the family, and for what her age in the family would be like. So for example, Strachey does not think that this princess is like the other characters he depicts, but I think that in some respects this picture of the family is closer to Florence, who is a child of the Virgin and not too much younger than the other characters. Strachey then goes through the portrait by looking at all the scenes of her childhoods, but I think he does not quite understand what the main characters have to show to help him to understand the life of other fictional characters. This brings me to a point: Strachey does not explain at all what this portrayal was like, but he does give that characterization and that is one of the reasons why he does not completely lose his original feelings for the life of others. Strachey writes as an artist and is responsible mainly for making this painting. Strachey explains in the end that you need to know more about the artist’s work to know that it is accurate to describe a painting, and what to pay attention to, and that what I see must be accurate only to the author and not to the author itself.
Chapter 16. “How I like Florence” The first chapter of Strachey’s painting in L’Emperor is a short section of this volume. He explains that he drew this painting in Italy with a view to presenting a view of Florence at the time of its creation. The painting at this point, for the artist is