Edgar Allen Poe Essay Example | Topics and Well Written Essays - 750 words - 1

Edgar Allen Poe - Essay Example Montresor presents himself as an honorable man from a high social class. He tells that his family has deep roots, that "the Montresors, were a great and numerous family" (Poe, n.d.). To add significance of his social position, he tells the motto of his family which is "Nemo me impune lacessit" Poe. N.d.). Montresor presents himself as a good-natured man who does everything to protect his dignity. This is in itself perhaps not the most exalted of literary ambitions, though it is remarkably difficult for an author to avoid crossing the boundary from the terrifying to the merely laughable. It seems that Montresor has a perfect breeding and tries to prove his position protecting his good name. Montresor presents himself as a judge who condemns his friend Fortunato to death. Taking into account his appearance and costume, it is evident that his representation of himself does not coincide with his true nature. Poe depicts him in black silk mask which symbolizes evil nature of Montresor: "thus speaking, Fortunato possessed himself of my arm; and putting on a mask of black silk and drawing a roquelaire closely about my person, I suffered him to hurry me to my palazzo" (Poe. N.d.). Montresor tries to persuade readers and himself that the death of Fortunato is the only possible way to avenge. Poe depicts that the character of Montresor does not show remorse for his thoughts and plans trying to kill his friend. Poe underlines that the experienced world in this sense is a human creation, the product of the activity of the mind, Montresor's personality. Montresor explains that: "I must not only punish but punish with impunity. A wrong is unredressed when retribution overtakes its redresser. It is equally unredressed when the avenger fails to make himself felt as such to him who has done the wrong" (Poe, n.d.). Poe's secure grasp of the subtleties of his environment is evident, but it is far more than a mere transcription of particulars. For while deploying descriptive detail in the conventional realistic way to build up a rich and convincing impression of the murder and the world he creates, Poe uses realism. Montresor himself shows only a desire to be alone. This suggests that Montresor's view of his own cruelty is a fearful one, that he is terrified and disgusted by it. "The clues are part of the larger "system" or "demonstration" motif of the story: Montresor, the diabolical rationalist, systematically demonstrates again and again that the arriviste, Fortunato, does not know, cannot distinguish" (Bloom, 1987, p 55). The plan of getting revenge consists of several stages in order to avoid suspicion and possible punishment. The date of the revenge has been carefully thought. Carnival is a time when people (servants) do not care much about their duties. For this reason, Montresor sends the servants away to the celebration. Montresor knows that Fortunato admires good wine and for this reason he ensnares him proposing to taste Amontillado. Montresor tells Fortunato "You have been imposed upon. And as for Luchresi, he cannot distinguish Sherry from Amontillado" (Poe. N.d.). this base flattery helps Montresor to pursued his victim to join him and drink little wine. The next step planed by Montresor is to astonish his victim. "The Amontillado!" ejaculated my friend, not yet recovered from his astonishment" (Poe, n.d.). After these words, Montresor

Rewriting The Yellow Wallpaper -- The Yellow Wallpaper Essays

Rewriting   "The Yellow Wallpaper"   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Elizabeth Cady Stanton and Charlotte Perkins Gilman rank as two of the most outstanding champions of women's rights who were active during the nineteenth century. Both professed a deep and personal faith and both were wise enough and secure enough to develop their own ideas and relationship with their creator. In 1895 Stanton published The Woman's Bible, her personal assault on organized religion's strangle-hold on the women of the world. Gilman published her short story "The Yellow Wallpaper" in 1892. She wrote the story, she said, "to save people from being driven crazy" (Golden 52). The heroine of "The Yellow Wallpaper" finds her only escape from the oppression of a condescending spouse is a headlong descent into madness. Stanton and Gilman met at least once, about 1896 according to Gilman's autobiography. "Of the many people I met during these years I was particularly impressed by Elizabeth Cady Stanton. To have been with her . . . seemed to establish connection with a splendid period of real heroism" (Gilman 216). Perhaps if the philosophies of these two great women were to come together, at the perfect moment, they would possess the potential to save the heroine of "The Yellow Wallpaper." The following scenario might prove feasible. ---------- An Obstacle Charlotte Perkins Gilman l I was climbing up a mountain-path With many things to do, Important business of my own, And other people's too, When I ran against a Prejudice That quite cut off my view. ---------- The Yellow Wallpaper by Charlotte Perkins Gilman amended, with apologies, by Margaret A. Stanton ---------- The heroine of "The Yellow Wallpaper"... ... Elizabeth Cady Stanton/ Susan B. Anthony: Correspondence, Writings, Speeches. Schocken Books, NY: 1981. Gilman, Charlotte Perkins, The Living of Charlotte Perkins Gilman. University of Wisconsin Press, Madison: 1990. Gilman, Charlotte Perkins, "The Yellow Wallpaper" The Heath Anthology of American Literature, Second Edition. Gen. Ed. Paul Lauter. D. C. Heath and Co., Lexington, MA: 1994. Golden, Catherine, ed. The Captive Imagination: A Casebook on The Yellow Wallpaper . The Feminist Press at The City University of NY: 1992. Stanton, Elizabeth Cady. The Woman's Bible. NY European Pub. Co.: 1895-98. Northeastern U. P., Boston: 1993. Note 1 The poem "An Obstacle" by Charlotte Perkins Gilman is used as an epigraph by Catherine Golden, ed. The Captive Imagination: A Casebook on The Yellow Wallpaper (The Feminist Press: NY City UP, 1992) vii.   

Frankenstein Mary Shelly Essay

   She is a reminder that even though he gave his monster life she is still dead. It is possible he feels responsible for her death on some level, and now he’s responsible for this monster. Shelly focuses the entire dream on death and those close to Frankenstein. It gives the impression that everyone close to Frankenstein’s heart is tainted even his child and creation. In this paragraph Frankenstein is described as being trapped, too scared to venture into his house. Instead he is confined to the courtyard, waiting with wide eyes to escape onto the streets. Shelly describes the morning just as dismally as the night; rain, cold, depressed atmosphere, but the light is growing. Morning arriving is a portrayal of hope. Once Frankenstein is released onto the streets he walks around quickly, with some unknown purpose. His eyes are ringed with sleep, he moves almost erratically, trying to find something and yet avoiding his monster. Shelly shows a paranoid man, running. He’s drenched and shivering from cold, on the point of breaking down. The picture is unwelcoming and uncomforting. Frankenstein is isolated by the rain and darkness of the black sky. Frankenstein’s aimless expedition continues, he speeds along pelted by rain, but time only trickles by. It seems he hopes that his stinging eyes and aching legs will numb his troubled mind. Mary Shelly quotes a poem â€Å"The Ancient Mariner†. It fits the story so perfectly it appears as though it could have been her inspiration for this description. It describes a terrified man scared of what’s following him. His follower is said to be a â€Å"frightful fiend†, like Frankenstein’s monster, close to him like a friend but evil, waiting to creep up on him. The poem itself is about sailors searching for land, searching for an albatross to lead them to safety. Frankenstein is also lost in the dark winding streets of Ingolstadt desperate for help. Mary Shelly brings the tension up almost as high as it can go in this section of the chapter. To keep the story flowing she cuts through the suspense with a stinger. Cleval arrives signifying the start of a new stage in the story. Frankenstein is on the point of breaking down when his old friend appears. Cleval’s arrival brings Frankenstein around and lightens the mood; soon the monster is almost forgotten. Shelly stops using oppressive descriptions and starts describing Frankenstein’s interactions with his old friend. The reader moves from Frankenstein’s shoes to an outsider, watching the story unfold. Frankenstein is twitching and restless, terrified that the monster is still in his apartment. He acts childishly in front of Cleval making him wait downstairs while he checks to see if his nightmare is gone. Frankenstein throws open doors and charges into rooms ready to confront his ghouls and demons. Once he realizes that the monster isn’t there he becomes giddy with joy. Mary Shelly procedes too describe him as feverish and unsettled. This is noticed by Cleval, alarmed by his ostentatious laughter and wild darting eyes. Frankenstein’s mind may be more at ease, like the reader’s, but he’s obviously feeling uncomfortable showing that the threat isn’t gone. Frankenstein had been malnourished and sleep deprived for many months, and in the last few weeks leading up to the reanimation of his assembled body his life was barely there. Mary Shelly shows Frankenstein as being delirious and senseless, almost wild in the way he moved and did things. Frankenstein is finally overcome by exhaustion and he breaks down, which in turn develops into a feverish illness that renders Frankenstein helplessly weak for months. Shelly allows the necessary time for him to recover which is vital for the story. She had made the story so tense but it needed to continue on, so Frankenstein’s illness allows the tension to simmer and the plot to progress onto the next chapter. As he slowly recovers things finally return to normal. Shelly gradually stops using depressing worlds like â€Å"gloom and â€Å"dismal† which were frequent occurrences in the winter months. Instead she describes the holly springtime and plants with buds growing symbolizing new life and a new beginning for Frankenstein. In conclusion, Mary Shelly uses numerous techniques to achieve the right amount of suspense and atmosphere in this chapter. She frequently applies gothic machinery to her descriptions. Shelly distorts the light the increase suspense and consistently describes drab and dreary weather to give an underlying base of gloom. Shelly continuously shows Frankenstein as being terrified, mad with fear yet relentless. His strange behaviour unnerves the reader. Shelly uses longer sentences throughout this chapter to make it appear that the time spent between the reanimation and meeting Cleval even longer. Shelly carefully uses the poem â€Å"The Ancient Mariner† (which mirrors the Frankenstein’s situation) to cut the tension in the middle of the chapter allowing it to peak then plateau. Shelly moves the reader from the point of view of Frankenstein to the point of an outsider several times, not literally, but by increasing the tension and allowing it to fall, the reader occasionally feels as though they are there with Frankenstein. Shelly does all of this seamlessly, not letting any style or technique stand out and draw away from the seemingly natural flow of the chapter, and still developing the atmosphere terrifically throughout.   Jessica Williamson English – 1574 24/10/2005 Show preview only The above preview is unformatted text This student written piece of work is one of many that can be found in our GCSE Mary Shelley section.

Factors that Influence a Childs Engagement in the Classroom

There are many factors that can positively and negatively influence a child’s engagement in the classroom. One of the biggest factors is poverty. There are nearly fifty million Americans living in poverty. Poverty has a huge impact on many aspects of a child’s life, one of them being his or her learning in the classroom. Children from low-income homes have different backgrounds and needs than those from middle-class environments that can influence their ability to concentrate, pay attention, and interact with peers during school. Poverty impacts a child’s health and nutrition, vocabulary, effort, mind-set, cognition, relationships, and ability to handle stressful situations. Living day to day can be a struggle for those living in poverty, so it is a lot to expect these children to be able to function perfectly in a classroom setting. Nutrition plays a significant role in children’s functioning. Children who grow up in low-income homes are more likel y to eat foods with a lower nutritional value, which can even affect them while still in the womb. Children coming to school in the morning already hungry will distract their minds from learning and their brains will not be able to function. It is proven that poor nutrition at breakfast affects gray matter mass in children’s brains (Taki, 2010). Skipping breakfast negatively affects students’ academic achievement by increasing absenteeism, as well as hurting their cognition abilities. Students will have more troubleShow MoreRelatedThe Effect Of Sensory Diets On Sensory Processing Skills1329 Words   |  6 Pagesprocessing skills, psychosocial skills, and engagement in classroom activities in children between ages of four and twelve years. 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