Mythic and Fairy

The sentiment of looming risk as the story advances is made for the peruser in Joyce Carol Oates’ short story, Where Are You Going, Where Have You Been?, through utilizing legendary components to depict what's going on in the plot. All through the story, she utilizes a few depictions related with the fallen angel to fill in as similitudes for the male character and what happens to Connie as likewise representative of the intensity of fiendishness to entice, overcome, and demolish the person. Connie is the image of honesty. A little youngster of fifteen, she is at the hour of pre-adulthood when young ladies start to investigate past their youth lives and have a sample of how it resembles to be an adult. She is likewise really, fixated on mirrors and whining with her looks. She is not normal for her plain more established sister. Like most beautiful young ladies her age who need fervor and not be â€Å"plain and steady† like the sister, Connie is giggly and excited for new things, unconscious that peril sneaks prepared to abuse the dreams of young ladies like her. She resembles guiltless Red Riding Hood who thinks the forested areas are pleasant, comfortable spots to go through unconscious of the wolf that lives inside. In the wake of depicting Connie and her family, the creator presents the strategy of fusing mythic component in the story by portraying the drive-in café as a â€Å"sacred developing that lingered out of the night to give them what asylum and favors they longed for†¦the music was†¦like music at a congregation service†¦Ã¢â‚¬ Ã¢ The eatery is a healthy spot for youngsters to meet and appreciate each other’s organization. Notwithstanding, once Connie escapes the eatery towards the parking garage, she isn't protected any longer. The demon sneaks simply outside holy places, prepared to entice any individual who escapes the sanctuary and who is happy to accomplish something mischievous and fun. It is outside where Connie sees Arnold Friend just because in spite of the fact that they would not be acquainted with one another then as Connie is with Eddie, a healthy kid her age whom she meets in the â€Å"sacred† café. Directly after that first gathering, the story starts its unpleasant quality as the creator centers around Arnold Friend and utilizations legendary and social relationship with the villain to portray him.â One affiliation is the manner by which Arnold Friend comes into the image and what he looks like. His methodology is reported by the â€Å"glow of moderate beat happiness that appeared to rise strangely out of the music† which Connie was tuning in to at the time her folks and sister went to a grill party at her aunt’s one end of the week, disregarding her in the house. Awesome music, melodies that are quick and hard, is related with defiant adolescents. Arnold Friend appears to her with a stone tune out of sight and seeming as though a demigod himself, much the same as the men in Connie’s dream. He had â€Å"fair earthy colored hair†¦sideburns (that) gave him a wild, humiliated look†¦wore sunglasses†¦tight blurred pants stuffed into dark, scraped boots, a belt that pulled his midriff in and demonstrated how lean he was†¦the jaw and jawline and cheeks marginally obscured in light of the fact that he hadn’t shaved†¦and the nose long and hawklike.† His highlights are sharp, his clothing scruffy, and his bearing is masculine. He claims to her dream to look speaking to her, in this way making it simpler to accomplish his motivation. In any case, the skin around his eyes, which she sees when he removes his glasses, was â€Å"like gaps that were not in shadow however rather in light.† The eyes themselves were â€Å"like chips of broken glass that light in a pleasant way.† They were shrewd eyes, splendid and not at all like typical natural eyes. At the point when he talks, it is in â€Å"a basic lilting voice, precisely as though he were discussing the words to a song.† He continually grins, as well. His name is Arnold Friend, an undeniable play on words on â€Å"fiend†. He is clearly a miscreant with awful expectations yet one who camouflages them well. No other name is more reliable than one who has â€Å"Friend† for a family name. Arnold rides a brilliant jalopy. The sparkling vehicle represents how the enticements of malevolence consistently arrive in an amazing and alluring bundle. Connie herself is diverted and interested with the vehicle. He utilizes signs and mystery codes. At the point when the vehicle grinds to a halt by the front entryway, â€Å"the horn sounded four taps.† Beside Arnold Friend’s vehicle are more codes: the numbers 33, 19, and 17. He additionally tells Connie at one point during their discussion that he has a sign, the letter X. Strange notion, with its distraction with codes, signs and numbers, is associated with the clouded side. Another affiliation is the recommendation that Arnold Friend has a deep understanding of Connie and is even clairvoyant. At the point when he calls Connie by name, she is shocked since she never presented herself whenever he crashes into their doorstep. He knows the names of her relatives, every one of her companions from school, and reveals to her that he can perceive what's going on at Aunt Tillie’s grill party at the exact instant that he is conversing with her. Connie, obviously, understands the risk she is in despite the fact that it requires some investment to soak in light of the fact that from the start she wants to simply forgo Arnold off and he would basically disregard her. She knows the signs to the sort of fermenting inconvenience she is looking with Arnold when she perceives â€Å"that tired marvelous grin that all the young men used to get across thoughts they didn’t need to place into words†¦and the monotonous way he talked, marginally ridiculing, joking, yet serious†¦Ã¢â‚¬  She knows the round of enticement and she attempts to oppose as hard as could reasonably be expected. Later on in the discussion, be that as it may, when Connie keeps on opposing and particularly when she undermines him with calling the police, Arnold gradually removes the cover he has put on to entice her with pleasantness and gets intense. Malicious can't keep on its sweet face when it understands how it is very nearly rout. At the point when it can't get its way through flattery and cajoling, it would fall back on the utilization of power and savagery. Connie likewise perceives the move and she feels genuine frenzy and dread. Arnold makes it understood to her when he says, â€Å"the place where you originated from ain’t there any more, and where you had at the top of the priority list to go is dropped out.† obviously, Connie could have called her folks or the police and it could have startled Arnold off and leave her. All things considered, she is inside the house while he is bolted outside. He can't go in and it would have required some investment to break the entryway, long enough for Connie to decide. However, similar to the demon, he plays with her shortcoming, disarray and dread right now. Arnold controls himself, realizing that it would work better if Connie comes out of her own will. He keeps on tempting her with guarantees of a pleasurable encounter. He vows to bring her â€Å"to a pleasant field, out in the nation here† where Arnold will â€Å"have (his) arms tight around (her).† He attempts to persuade her that she is superior to any of her relatives and no one but he can get her and her needs best. Towards the finish of the story, Arnold continues urging until Connie feels she isn't herself any longer. The creator portrays it as a chant. She is baited and spellbound by his words. She has become a spectator watching herself â€Å"put out her hand against the screen†¦push the entryway gradually open†¦moving out into the daylight where Arnold Fiend waited.† She has surrendered herself to the demon. She has gone wrong. She will never be the equivalent again. Utilizing expressive components related with the legendary animal called the villain ends up being a compelling method in building up the story since it includes that additional component of frightfulness in the perusing. The peruser partner what's going on in the story with the additional symbolisms and it increases the tension and expectation of the clearly terrible closure of the female character. The consummation isn't just about Connie surrendering herself to Arnold. It is likewise about how underhandedness has enticed guiltlessness, prevails upon her, and leads her to a horrible end. Work Cited Oates, Joyce Carol. Where Are You Going, Where Have You Been?