“The Red Convertible” by Louise Erdrich and “Story of an Hour” by Kate Chopin both have the common theme of death; however, in “The Red Convertible”, the death of Henry ends the very close relationship that he has with his brother Lyman while in “Story of an Hour”, the death of Mr. Mallard marks an opportunity of independence and freedom for Mrs. Mallard which shows that the relationship between Mr. and Mrs. Mallard was unsatisfactory. “The Red Convertible” shows the literary conflict of person versus person through the good relationship between Henry and Lyman and has the prevalent theme of death. The brotherly relationship between Henry and Lyman starts off very close and friendly, however after Henry comes back from being drafted into the
In Kate Chopin’s “The Story of an Hour” readers are dropped into a deep conflict. A man must tell a woman that her husband is dead. In the beginning there is a subtle hint at the ironic twist ending, but the story goes on cooly in spite of it. Readers start to feel connected to Mrs. Mallard and begins to pity her situation, all because of irony. The effect of irony in Kate Chopin’s “The Story of an Hour” enhances the protagonist’s situation, it introduces the effect of the foreshadowing, and indirectly characterizes the protagonist.
Conrad, the leading character in the drama Ordinary People, suffers from emotional crisis caused by the death of his older brother in a boat accident. Conrad believes that he is somehow responsible for this accident, and lives under the burden of guilt and depression. As a result, Conard often sees himself as unstable, outcast, and lost. As he recognizes it during one of his conversations with his doctor, he notices that other people see him as “a dangerous character”, and so he wants become more incontrol. Given his emotional disorders which were extreme enough for him to attempt suicide, his self-concept of ‘unstable’ is understandable.
These accounts caused other people to be accused of such a event, which led to the higher courts taking action on the evidence and prosecutions. Several important figures were taken of their lives by the rope. Throughout this play a certain value was promptly expressed by many characters. A value is something of worth to a person, and it is by one’s judgment
Moral Ambiguity and History within The Assault Harry Mulisch’s The Assault is a self-proclaimed “story of an incident” (3) wherein “the rest [of the events are] a postscript” (55). The incident in question is the murder of Anton Steenwijk’s parents, and the postscript refers to the future, where Anton uncovers details relating to the incident. Despite Mulisch’s definitive distinction between events, however, the incident itself is convoluted and its details shift over the span of the work. Through the development of major and supporting characters, Mulisch brings forth a diverse range of perspectives and reconstructs the history of the incident, thereby exploring the motif of moral ambiguity within The Assault.
First, Conrad lost his brother to a boating accident and then Conrad felt as if he needed to replace his brother’s role in life. “The justice, obviously, is for the not-so-perfect kid to become that other, perfect kid. For everybody. For his parents and his grandparents, his friends, and, most of all, himself. Only, that is one hell of a burden, see?
In Tobias Wolff’s short story “The Liar,” the protagonist, James, lies to help him construct a new identity outside of his family. James tells morbid lies about his mother in order to distance himself from her. Since, the loss of his father, James no longer associates with people who are like him. The lies started after his father’s death and his mother starts noticing how much differently he was acting. Since his mother is treating him like she is disappointed in him, James begins to devolve into a state of repressed bitterness.
His recollections about his experience as a young boy makes the horror real and urgent for the audience: “I remember his bewilderment, I remember his anguish. It all happened so fast.” (paragraph 4) The audience’s inevitable emotional response to these memories is one of deep sadness and empathy. The need for action instead of silence in the face of such horror is made even clearer.
Miller uses the pathos appeal in the passage to provoke an emotion from his readers, and he does this by talking about divorce. “The divorce law lay a tremendous responsibility on the father for the care of hi children” (Miller 34-35). Miller I
In this essay I argue that Wolfe is using the concept memory to interpret the idea of time wasting away through the detachment of wonder. The story contradicts what people consider to be normal memories. To many, a normal memory is something that happens with friends and family. Something that is extremely heartfelt.
Throughout the development of his gentle, innocent character into the epitome of a wartime officer and courageous veteran, Robert faces many antagonizing events which are made worse by the constant reminder of his sister’s death; a past experience which has an evocative
However, his true morals are revealed when the narrator shows signs of guilt like “My head ached, and I fancied a ringing in my ears.” The narrator’s transition from superiority to guilt represents the reality that the acknowledgement of wrongdoings can either be done consciously or unconsciously, and that the latter has considerable negative
it was Wilson who stood before me in an agony of death.” It is revealed at the end that there was only one William Wilson. The second William Wilson was a reflection of the first one conscience. The real William Wilson gets so fed up with his concise that the only to get rid of it was by stabbing himself in the chest. On the contrary, the narrator confesses to his unscrupulous deed.
When Richard’s heard the news of her husband’s death, he assumed Mrs. Mallard would be devastated. While everyone knew Mrs. Mallard was “afflicted with heart trouble” (57), him and her sister, Josephine, wanted to give her the news with “great care” (57). Josephine broke the news to Mrs. Mallard in “broken sentences”
The Trial, published in 1925, after Kafka’s death in 1924, depicts the internalized conflict Joseph K faces in a society flawed by its abusive power in the law system. The oppressive and mysterious trial wins the reader’s attention in trying to figure out, at the same time as K himself, what the latter is accused of. On the morning of his 30th birthday, Joseph K disregards his accusation as he presumes to be innocent. However, as the protagonist evolves throughout the novel, his conviction of an unavoidable execution leads him to fame his “shame.” Joseph K is a developing character.