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This paper aims to interpret the puzzling and prevailing presence of hedges, walls, lines, and treelines in Flannery O’Connor’s “Greenleaf as significant symbols, and of ironies in the story as literary devices to break down the borders represented by lines. It is argued that all of them are intended to lead to an abyss of mystery which O’Connor assumes is what literary stories are supposed to reveal. Since the year of 1956 when “Greenleaf” was published in Kenyon Review, it has attracted much critical attention but none has paid careful attention to lines and ironies together. This paper argues that the lines with which Mrs. May the main protagonist is preoccupied represent the practical view of the world where material possession and discursive intellect are used to classify and discriminate and also focus on causal linearity, whereas Mr Greenleaf who deviously walks on a circle and his wife whose religious rituals assume St. Teresa’s mysticism symbolize a mythical view of the world. O’Connor carefully builds up small ironies throughout the story, and the contradiction between those two views of the world is designed to finally collapse at Mrs. May’s ironical death when the bull’s love only kills her and she can see better when she cannot see anymore. Such a shocking ending is intended to awaken the reader to the abyss of mystery, somewhere between those two kinds of world views.
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