ial world. To achieve this empathy, the narrator refers to this man as the enemy and states that the "young girl dare not to look boldly at the man"(133). This is an effective passage and the tone here is representative of female repression and constraint at the turn of the century. So I think this can provide textual support for the industrial world's gender inequality during the turn of the century. My assumption here is that Sylvia's fear of the man is a learned trait from her behavior and value system in the manufacturing town. The passage about her fear of the "great red-faced boy" can support this assumption (133). Additionally, another example of this industrial and social repression is the grandmother's remark about her son's ability to wander off and explore the world. She expresses that if she could have, she would have done it too (134). Therefore, the grandmother acknowledges the female repression of the industrial world. Although she no longer lives in that society, she still seems to be constrained by it, but not Sylvia. I think the grandmother is still restrained by the industrial world's values and expectations, but I think Sylvia is young enough to follow the dictates of her ideas, values, and not those of the industrial world. Thus, when Sylvia finally casts her eyes upon the white heron, something inside Sylvia changes. This is the manifestation of her new value system. She has moved away from the industrial values and begins to favor the values of nature over the industrial ones of money and the accumulation of wealth, power, and prized animals. We can see Sylvia's new perspective in a few important ways. First, we feel that Sylvia can see herself in the white heron. Second, she understands it now. She watches the sea and greets the sun at the same time as the heron. From this shared experience, Sylvia seems to be making a connection to the white heron and the woods. So, we can acknowledge that Sylvia h...
