... the structure of the novel is influenced by foreshadowing and flashback. Fitzgerald utilizes foreshadowing to the best of its ability to help organize the novel. "Luckily the clock took this moment to tilt dangerously at the pressure of his head, whereupon he turned and caught it with trembling fingers and set it back in place. 'I'm sorry about the clock,' he said. 'It's an old clock,' I told him idiotically." (Fitzgerald, pg. 92) This quote is the first use of foreshadowing which is in chapter five. It pertains to all of the trouble Gatsby causes as he tries to win Daisy back. The past is represented by the clock and how Gatsby wants to repeat it with Daisy. ( ...
... no conventional style of meter, only alternating long and short lines which can also be witnessed in the structure of the poem. The rhythm and the structure of these two poems directly influence one another. Lawrence and his free verse style are reflected in the long and short lines in his poem, whereas Dickinson's structure is more of a conventional structure. Lawrence has no set number of lines per line or stanza. Dickinson, on the other hand, has four lines per stanza and although no set number of words in a line, the meter is repeated throughout the poem. Once again, we see two diverse styles from the two authors. When we examine rhyme patte ...
... is at times funny, but equally sinister and often harrowing. One of the most striking things one encounters while reading the book, are the changes Pip goes through once he has moved to London to be raised a gentleman. He hardly writes to Joe or Biddy, the only two characters in the book who expressed their love for him, and also he only seems to care for money and status. I refuse to believe that this malice is inherent to Pip's character. As this story only focuses on Pip, I would like to think that something happened to him which made him in act in such a manner. This essay doesn't claim to know the story, or what Dickens' intended it to be. You, as a read ...
... for a different sin or wrong doing towards another. In each circle and Canto there are different penalties to pay but it is for sure that each forbidden soul in the Inferno will live forever in eternal suffering. Our first soul to discuss is eternally locked in Canto V, Circle Two: The Carnal. This man, Jason, became king of Cornith by committing adultery against his wife, Medea, with the king of Cornith's daughter, Glauce. Jason returns to Medea and tells her that she and their three children are to leave his home immediately so he and Glauce can move in. The following day Medea sends Glauce a poisoned robe which kills her. This causes Jason to come to Med ...
... she feels for him. A second scenario: Jane loves Mr. Rochester in her heart. She only needs something, some happenstance, where she can break through her reserve and coyness to express her feelings. Mr. Rochester brings to Thornfield a party of guests; all elegantly appareled and socially sophisticated. Hesitantly, Jane reaches the drawing room where she and Adele wait for the party to enter. The ladies all come in first, gathered together and chatting when they notice Adele and Jane. The ladies swoon over Adele while Jane sits on the side inspecting and criticizing each lady as she passes by. No one is unpleasant to her and no one seems to grab Mr. Roches ...
... a listener and show the listener what she means, then that is the most honorable achievement. Momaday wants the reader to know the importance of word weaving, of weaving the words to form a beautiful picture that can heal souls if spoken correctly. Momaday believes that the Native Americans who never bothered to learn to read and write, those who depend on their words, are those whose words are most powerful. The love for words, spoken with passion, makes them take on a three-dimensional quality. The words become the images and show a listener instead of telling, making the moment an experience instead of just a moment. The listener can feel what the speaker is tryi ...
... passed round his neck." [15] Lucky is whipped often, and he is essentially the horse pulling Pozzo's carriage in a relationship that seems cruel and domineering. Yet Lucky is strangely compliant. In explaining Lucky's behavior, Pozzo says, "Why he doesn't make himself comfortable? Let's try and get this clear. Has he not the right to? Certainly he has. It follows that he doesn't want to...He imagines that when I see how well he carries I'll be tempted to keep him on in that capacity...As though I were short of slaves. Despite his miserable condition, Lucky does not seem to desire change. Perhaps he is happy, or maybe not miserable enough. Perhaps, as the co ...
... refused to give him thinking his son was spoiled by his rich friends who had nothing to do except watch horses. Before going to sleep, he went to check that all windows and doors were locked. He saw Mary at a side window at the hall. She closed it quickly, and Holder noticed that she looked anxious. After he went to sleep, he heard some noise that woke him up; he waited until he heard it again coming from his sitting room. He jumped out of his bed and saw his son holding the crown broken from the side and three diamonds were missing. In grief, he accused Arthur of being a thief and a liar. Meanwhile Mary came in and seeing the crown fainted. Arthur asked if he coul ...
... hero. Tragedies recount an individual’s downfall, usually beginning high and ending low. This individual also boasts noble qualities. Of course, Creon begins as a powerful king, but his development through the plot forces him to become nothing more than a fool. I believe that Creon’s noble quality is linked to his role in Oedipus the King. Oedipus, after blinding himself, asks Creon to take care of his children. He, of course, agrees to. This is, without a doubt, a noble quality. Creon’s involvement in the plot of Antigone clearly shows that he is the center of the tragedy. The definition of a tragedy also supports my beliefs. This i ...
... living saints. During his search for saints, Dunstan coincidentally comes across Le grande Cirque forain de St. Vile and Illusions, a circus where Paul Dempster preformed magic. This clearly indicates how Dunstan is related to both magic and religion. Paul Dempster, another character in the novel illustrates the relationship between magic and religion. Paul is the son of Mary Dempster who Dunstan considered to be a saint. His father, Amasa Dempster is the Baptist parson of Deptford and is considered to be religious. After leaving home, Paul joins a travelling circus, becomes a magician, and is later renamed Magnus Eisengrim by Lisel. Along with the idea of m ...
