In this way nature can be seen as an important theme for authors to explore as in enables them to escape the madness of society and their own minds.
The narrator of "The Cask of Amontillado" shows himself to be a man trapped in his own mind. He devises a plan to entomb the other character in the story, Fortunato, because he was insulted. He even finds his own way to justify it to himself: "The thousand injuries of Fortunato I had borne as best I could; but when he ventured upon insult, I vowed revenge" (Poe 473). Without knowing exactly what Fortunato had done to him, we must take clues from the text to determine what we are supposed to understand about the Montressor. For being insulted, Montressor has decided to bury Fortunato alive; if the insults and injuries had been that serious, we would expect to have Montressor list these various offenses in an attempt to justify his actions: "The narrator, Montressor, is one of the supreme examples in fiction of a deluded rationalist who cannot glimpse the moral implications of his planned folly" (Garango 667). While Montressor is trapping Fortunato in a tomb, it becomes more and more apparent that Montressor is trapped within his own mind. Whatever Fortunato had said to him, he apparently obsessed over it over and over again in his mind. Only a person suffering from some sort of insanity could behave in the way that Montressor is. While Fortunato is the one physically trapped, it is apparent that Montressor is still trapped in his mind as he is still obsessing over the event of the story fifty years later: "For the half of a century no mortal has disturbed them" (478).
Roderick Usher from "The Fall of the House of Usher" is another character who physically traps somebody while remaining trapped in his own mind. When the narrator meets with his childhood friend, he finds him to be in a state or terror: "I shall perishI must perish for this deplorable follyI dread the events of the future, not in themselves, but in their results" (Poe 482). Though his sickly sister has apparently died, Roderick is obsessed with making sure that he does not entomb her alive. "The brother had been led to his resolutionby consideration of the unusual character of the malady of the deceased" (486 Poe). Without an apparent reason to worry about a premature entombment, it becomes apparent that Roderick is simply trapped in his own mind, which is the only reason a person could be obsessed with something so bizarre. At the end of the story the house collapses upon the two Ushers, firmly entombing them within their house that could have been a part of their madness: "My brain reeled as I saw the mighty walls rushing asunder-there was a long tumultuous shouting sound like the voice of a thousand waters-and the deep dank tarn at my feet closed sullenly and silently over the fragments of the 'House of Usher'" (Poe 491).
To escape all of the entrapments that befall people in society, turning to the wide open spaces of the outdoors is an obvious choice. Robert Frost explores various aspects of freedom and choices in "The Road Not Taken." The speaker of the poem contemplates uses nature and a diverging path to metaphorically stand for choices in life that take people to different outcomes: "Yet not knowing how way leads on to way,/ I doubted if I should ever come back" (14-15). The narrators in Poe's stories do not seem to have had any choice in their actions;
Edgar Allen Poe often wrote about the premature burials and intentional live entombments. While there were very real concerns during his time period about these sorts of events happening, these events can also be seen as being symbolic of being trapped in one's own mind…
The author of the text stresses that though the themes of each poem approach the spiritual concept of life from different angles, the incarnation, and the resurrection, both herald these occasions by drawing upon a wide array of resources. Besides, Milton uses scenes from nature and superimposes upon them spiritual and mythical ideas in order to infuse them with majesty.
The stories leave us to question our humanity. This essay will first examine 'A Rose for Emily' (Faulkner, 1930) then 'The Lottery' (Jackson, 1948) to illustrate how each writer's style underlined and expressed these themes.
A Rose for Emily (Faulkner, 1930): Faulkner used long, descriptive sentences, where metaphor, simile and symbols combined with multiple, omniscient narrators, to set the time, place, characters and values of Emily Grierson's society and circumstances.
There is only a small set of literary tools available to authors, of any genre, through which themes like death can be examined. It is through the unique manipulation of these tools, and the intense expertise of great American authors that such a varied approach to death can be interrupted, demonstrated, and shared.
The author states that in the story, characters are presented through action: symbolism intensifies character and action. Steinbeck relies heavily on metaphorical language to convey personal and dream-like states of consciousness. For Steinbeck, the setting and landscape constitutes a vital aspect of the story.
John Robert Lee has been a poet who never compromises with lyricism of personal Christian confession and ritualised testimony and his poetry demonstrates great flexibility of subject, register and style. "There might be an expectation that 'straight-out' poetic endorsement of Christian values and existential tenets might be on the decline in a secularising and syncretising Caribbean, but individual voices show that this is not the case: of a generation younger than Walcott, fellow-St.
The precision of the analogy of the objects and their meanings makes reading the story a worthwhile experience.
When Theo chose his eyesight over his life, he must have thought and considered it a million times before coming up with a decision. Prolonging one's life without seeing a thing may sound more depressing than seeing and yet knowing that it will not be long before you are gone forever.
The book report gives detailed information about such unique phenomenon of Irish literature, as dreaming and mythologizing. The researcher of this paper aims to analyze the history of its beginnings and that is it often used by Irish writers based on three literary works of W.B. Yeast, Brian Friel and Michael Longley.
It may also be viewed as a collective term for the remarkable variety of competing groups, movements, and schools in literature, art, and music throughout Europe over the same period: Symbolism, Decadence, Cubism, Expressionism, Imagism, Vorticism, Surrealism and so on.
This book report gives a review of the book "The death of the moth". The author gives an eerie feeling and makes the reader shudder with the idea of human helplessness. With the aid of symbolism, Woolf makes the reader feel as if he is having face to face interaction with death and looking into death’s terrible eyes directly.
So, one can see that Wilde did not try to deny the importance of satisfaction in human life. Still, this different attitude/approach towards creativity and writer’s duty attracted criticism from the mainstream society. On the
5 pages (1250 words)Book Report/Review
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