Pocketa-Pocketa-Pocketaaˆ¦ this sound is first heard in mention to the “ Navy seaplane ” that Walter tips through a violent storm ; he imagines it is the “ buffeting of the cylinders ” ( Thurber, 1939 ) . Subsequently, in Walter ‘s phantasy surgery, the “ new anesthetizer ” gives manner and makes the same sound ( Thurber, 1939 ) . Finally, when Mitty imagines himself a British pilot, flame-throwers make the same noise. It could be that this is the sound of the auto engine, which Walter foremost hears when he is driving into town with his married woman – although we do hear the “ pocketa pocketa ” once more when Walter is sitting in the anteroom, non in his auto. No affair where the “ pocketa pocketa ” originates, we do cognize that the sound provides a solid nexus between the existent universe and Walter ‘s phantasies, every bit good as a common nexus between his multiple phantasies. It is one of the many amusing elements of the narrative the same amusing sound cropping up repeatedly and it lends a touchable, lasting component to Mitty ‘s assorted phantasies. He imagines being a sawbones, he fantasizes that “ Coreopsis has set in ” ( Thurber, 1939 ) . This is non so much a disease as it is a works, instead similar to a daisy. Walter imagines a gun in the courtroom a “ Webley-Vickers 50.80, ” or a gun with a three-foot barrel. ( Thurber, 1939 ) . This is portion of the wit of the narrative. His phantasies read more like overdone lampoons of escapade narratives than like echt play.
Mrs. Mitty admonishes Walter to purchase overshoes at the shop ; she besides insists that he have on his baseball mitts while driving. It seems to us that a batch of what she does to Walter has to make with sheltering him from the universe. After all, she will non allow him make simple things for himself ( like take his ain temperature, or do basic determinations ) , and this is a large portion of the ground he spends so much clip fantasying. If this is true, so the baseball mitts and overshoes might be symbols of the manner Mrs. Mitty tries to screen or protect her hubby from the universe.
The existent life scene of this narrative is everyday: a hairstylist, a parking batch, a hotel anteroom, a apothecary’s shop all mundane elements of any town or metropolis. The platitude or obtuseness of these locations reflects the obtuseness of Walter ‘s mundane life. This greatly contrasted with the scenes of Walter ‘s phantasies: a “ Navy seaplane ” in a storm, an operating room, a courtroom, a dugout, a wall before a fire squad. These scenes are dramatic, exciting, and out of the ordinary.
The storyteller in this narrative is 3rd individual omniscient and is told by an uninvolved 3rd individual storyteller, though that point of position is limited to Walter Mitty. We follow Mitty through his twenty-four hours, and we merely acquire to see or cognize the things that Mitty himself sees or knows Walter Mitty ‘s character extends a kind of influence over the narrative. The words chosen have more to make with Mitty ‘s mentality than they do with nonsubjective narrative. Example: “ Incorrect lane, Mac, ” said the parking-lot attender, looking at Mitty closely. “ Gee. Yeh, ” muttered Mitty. He began carefully to endorse out of the lane marked “ Exit Merely. ” “ Leave her sit at that place, ” said the attender. “ I ‘ll set her away. ” Mitty got out of the auto. “ Hey, better leave the key. ” “ Oh, ” said Mitty, passing the adult male the ignition key. The attender vaulted into the auto, backed it up with insolent accomplishment, and put it where it belonged. ( Thurber, 1939 ) . To Mitty, it seems as though the parking attender leaps into the auto with great easiness because, in contrast, Mitty himself is aging and decelerate. Mitty thinks that the parking attender ‘s accomplishment is “ impudent ” and that the male child is merely demoing off his accomplishment in contrast with Mitty ‘s inability. The phantasies themselves give the narrative an component of escapade. There is decidedly a sense of auctorial amusement to be found here, as though the writer is every bit entertained as his readers are by his creative activity. It ne’er gets to the point, nevertheless, where we mock Mitty the manner the other characters in the narrative do. ( If there is any mocking at all, it is mocking of Mrs. Mitty and her domineering ways ) .
Alternatively, the writer seems to look up to and promote the reader to look up to his remarkable supporter. We think the terminal of the narrative is the greatest grounds of this. We end the narrative in Walter ‘s phantasy, in which he is “ undefeated, cryptic to the last ” ( Thurber, 1939 ) .
While Thurber does non travel so far as to do up words in the narrative, we can see in the authorship manner Mitty ‘s inventive influence. Thurber describes Mitty drive towards Waterbury with a awful storm ramping “ in the distant, intimate air passages of his head ” ( Thurber, 1939 ) . When depicting the hotel anteroom doors, he describes the “ faintly gibelike whistling sound ” they make when you push them ( Thurber, 1939 ) . There is a creativeness and gaiety to this composing manner that seems to suit with Thurber ‘s woolgathering supporter. The rubric of this narrative reminds us that, non merely does Walter Mitty pass a good portion of his life fantasizing, but that his dreams are really much a secret from the remainder of the universe. There is a communicating barrier between Walter and his married woman Mrs. Mitty. She appears ne’er to listen to him, seems to hold no thought about what he is believing or making, and she does non look peculiarly interested. ( When Walter asks if it of all time occurred to her that he might be believing, her lone response is that she is traveling to take his temperature when they get place. ) By stealing into a universe of dreams all the clip, Walter besides isolates himself from the people around him in the existent universe.
Narrator Point of View shows the manner in which Walter Mitty ‘s ain position influences the 3rd individual narrative. That really same thing is traveling on here in the rubric. An nonsubjective spectator like the bull or the parking attender would ne’er see Walter ‘s phantasies his secret life. This rubric, in a manner, belongs to Walter Mitty, because he is the 1 who sees his phantasies as a secret life, non as mere foolish reveries.
As Mrs. Mitty steps into the apothecary’s shop to catch some last infinitesimal point, Mitty stands against
the wall outside and imagines that he is standing before a fire squad. This is the last of his five phantasies. It is of import to observe that the narrative both Begins and ends inside Walter ‘s phantasies ; in this manner, you might reason that the secret plan of the phantasies themselves and non the secret plan of the existent universe dominate the text ‘s action. Another manner to construe this is as a kind of triumph on Mitty ‘s portion, every bit far as the narrative is concerned. He uses his fantasy universe to battle what he dislikes about world, and it would look that his phantasies are winning out at least every bit far as this narrative is concerned. They dominate world. On the other manus, Walter is confronting a fire squad barely winning he is about to be shot. You could see the fire squad symbolically, as representative of the people in the existent universe who hassle Mitty about being a dreamer. In this sense, the stoping seems like a licking for Mitty. He can woolgather all he wants, but there are ever traveling to be people who “ shoot ” him for it.
Mitty escapes into phantasy to cover with his struggles and there truly is non a flood tide to this narrative If there is suspense in this narrative, the lingering inquiry with which we are left at the terminal of the narrative Is Mitty headed for some kind of psychological interruption down. On the other manus, are his phantasies merely a harmless manner of doing his life more exciting? This is Walter ‘s last phantasy and does hold a sense of conclusiveness or falling action, as opposed to his other phantasies, which are full of action of play there are two basic ways of believing about the decision. The first being Walter is winning in some manner, and the 2nd is that he is finally defeated. It seems that Walter Mitty is deliberately befoging the truth from himself. His phantasies involve a rejection of mundane world, and so his imaginings hide the truth from his eyes. He is really merely a bumbling, aging man-not a pilot, or commanding officer or surgeon-however, he does non desire to acknowledge this fact.
