Laucian’s Tale
“You’re quite the amoral man, aren’t ye.” Said the gruff dwarf afore him, Stroking his long braided ginger-coloured beard with his calloused hands.
The Dwarves green eyes glistening in the forge light. His worn clothes had rips and stains about them, upon his belt lay many tools, including a hammer, tongs, a knife, and other items a blacksmith may need.
“Amoral is not the right word, I would say I am quite adamant on getting revenge.” Whispered the hooded man, deep in thought on whether he should have his soon to be rapier silvered.
“Ay, many a times I find men parading to my stand with animosity in their eyes,” The dwarf paused. “It seems you are the epitome of such men.”
The rogue
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He pulled his hood over his head before crossing the abandoned road, the sun rest upon the horizon, slowly winking from existence. Rocks ground under his foot as he roughly threw his feet down, attempting to masquerade his steps as those of a human.
In front of him lay the decaying wood structure that was an inn. Above the brown wood doorway lay a creaking sign attached to a post by two chains. On the sign the words “Amiable Antagonist” lay poorly inked in a red colour, in a way where the first letter of every word was capitalized.
As he reached for the handle of the door, a previously unnoticed slot at about eye level of the door slid open. Vicious eyes peered through.
“This Inn is invite only, and we haven’t recently gave out any invites, so you 're not welcome.” Shouted the deep voiced man upon the other side of the door as he shut the slot.
“Wait, Drophi gave me an invite.” Said the hooded man as he tried to hide his erudite voice. The slot opened
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His face coated with makeup. The rogue looked around the room, everything lit by a red aura emanating from an orb that lay at rest at on a big table near the room’s center. The walls and floors were made of a soft carpeting, as if the place was made to be romantic. The halfling crossed his legs and interlocked his hands on his lap.
“So, why did Drophi send you.” Said the halfling in an annoying voice as he winked at the rogue. As the hooded man sat down the halfling reached out to him, but the he moved his hands away while the halfling looked at him sadly and whimpered.
“I need your hand to tell.” whispered the halfling, the way he said tell seemed as if it was something honourable and great. Though nervous the rogue reached out his hand which was soon taken by the miniscule hands of the halfling in front of him.
After whence the halfling looked up and shut his eyelids and chanted something in a language unknown to the
She paused as though in deep thought. "Then hearken," she said, raising herself upon her arm and looking earnestly at him. "The secret of this, the Eye of the Leviathan, is forbidden you, yet if you dare to travel to a distant country far away over the waterless regions beyond the Marki, if you will penetrate the lands of hostile tribes in the disguise, you can learn that which will give wealth and power and will purchase my dowry to at last bring us together." "To
The Final Vote “Ralph I think that we should have a meeting” said Piggy. “We need to talk about what happened to Simon and we need to decide once and for all who is going to be chief.” [Ralph looks at Piggy with an expression of deep thought] “I agree, but I don’t know what to say.” “I do Ralph, I’ll do all the talking.”
“A la derecha,” (“Go to the right”), said an officer. The place where the officers sent them was isolated. The officers got out of their car and pulled out their rifles and pointed toward the people in the van. “Give us all the money,” they yelled, as they pointed their rifles at the group.
The Outsiders A villain is an “evil character in a story, whether a historical narrative or, especially a work of fiction. The villain usually is the antagonist, the character who tends to have a negative effect on other characters” (Web). In S.E. Hinton’s book, The Outsiders, the villains are the members of the gang called the Socs. Their rival gang is the Greasers and their hatred for them fuels their villainous actions.
One of the most common types of stories that is told all throughout fiction, and sometimes non-fiction, is the battle between good and evil. Growing up, people began with reading stories about the prince saving the princess from monsters and villains, but as they grew older the fantasies died off, but the plot of good versus evil continued on. Its’ most common form is to view the story from the protagonist side, but what isn’t seen is how the antagonist develops. These types of stories don’t usually include the background as to why they became wicked, but instead focus more on the hero. The classic struggle of good versus evil is taken from a different perspective in John Gardner’s Grendel where the readers are able to become a part of the
Heroism, pride, distress, conflict and morals are all components which produced the literary piece. Each character had different motives for their aggression, but whether it was for revenge or out of pure enjoyment, the killing was always present. But above all, envy played the main candidate for what would come to be a bloodbath. The author uses envy and revenge as a motive for action, by creating a sense of aggression and purpose of the evil characters. Envy was shown through the eyes of a demon, Grendel, who sought after those who cherished and enjoyed the treasures of Heorot and their king, Hrothgar.
The light of my torch reached but a few feet in the heavy darkness. The warmth of the Medoc earlier had begun to fade away, and I could feel the cold dampness of the catacombs seeping into my flesh beneath my parti-striped frock. “Proceed,” Montresor said, “Herein is the Amontillado. As for Luchesi---” “He is an ignoramus,” I interrupted, placing a shaky foot forward. All this about Luchesi-- though it wasn’t he who had been chosen to taste the Amontillado, after all.
Since childhood, we have been forced to engrave in our minds a mental image of what a “villain” must look like. Whether it’s the “big bad” wolf or the cookie “monster”, cliché conventions have become our method of familiarity; a method by which we distinguish hero from villain. Names and monstrous appearances have only enhanced these conventions, thereby making it harder to understand the more complex villains. Thus, two stories will be used to understand the varying range of villains that circulate popular culture in today’s world in an attempt to solidify the basis upon which a character may be deemed a villain or not. The visual representations of villains in Star Wars: A New Hope and Watchmen, prove that villainous nature can range from
‘I’m not hiding,’ I said, my eyes sliding away from her. She laughed. ‘Good thing, because your soul is right in front of you.’ She pointed to the sketch I’d drawn of Josie in her scarf.
The author James Patterson uses the antagonist to help the story develop and to create character development by robbing people, living in the black market and using people for their fame. This is significant because the antagonist drives events which create the plot and the story. During the story, there is a mysterious guy named Louise. He seems mysterious and tries using the kids for their money, even though he knows he could get in big trouble.
The second part of the tale is about a different alchemist, who is not a character in The Canterbury Tales. In the first of the two stories, the Yeoman details briefly what materials are used in alchemy
He thought that it was a visitor so he opens the door and no one is there so he closes the door. He hears knocking once again and he opened the door again. He looked outside and yelled out twice Lenore’s name. He oh so wanted it to be Lenore at the door, but instead, there was no one there so he closes the door.
The traditional and Shakespearean tragedies place specific roles on its players. The tragic heroic and often titular character plays the role as the proverbial “good guy” while his or her opponent is often presented as the exact opposite in their appearance, actions, and motives. To wit, the inverted persona of the protagonist,the antagonist, carries out the role best simplified as “the bad guy.” These distinctive character archetypes are fulfilled in their classic formula in many classical and modern works, especially in regards to fables and children’s tales where the lines separating good and evil are clearly drawn. However, there are times when the moral center of a character is not so clear cut.
broken on the anvil of ambition my brawn false report actioned they will be executed as I sip wine and fondle a creamy breast ruddy war is bold, arousing. stimulating peace is phlegmatic, soporific, full of lack Cry confusion and let discord reign wailing lamentation valiant buffoon banish'd from memory knowing the very road unto my heart the doting whelp pants for affection vehement ignorance ...................................................................................... a destiny of fire is there no reprieve in your mendacity my entertainment of death whence the spectators swoon my jealous
There was no chattering or chirping of birds; no growling of bears and no chuckling of contented otters; instead, the clearing lay desolate and still, as though it never wished to be turned into day. The only occupants were rodents and spiders who had set their home in the dank, forgotten shack. From its base, dead, brown grass reached out, all the way to the edge of the tree-line, unable to survive in the perished, infertile soil that made up the foundations of the house. Bird houses and feeders swung still from the once growing apple trees, in the back garden, consigned to a life of