The fictional world is full of chaos, as people tend to prefer unstable theories to countless philosophies. Specifically, there is a literary shift from linearity and order to randomness and fragmentation. Consequently, Postmodernist writers understand that their works are subject to interpretation; however, they believe that the flexibility of understanding in texts is the basis for the development of innovative ideas in society. Moreover, Kurt Dinan writes in a nonlinear, flexible fashion by writing with a component of Mystery. Subsequently, the reader can make different predictions on what will occur throughout Don’t Get Caught, and the ability to predict and analyze uniquely is one of the principal ideals of Postmodernist literature.
But he feared as a Reverend the he was not setting a proper example, with Abigail his niece and his daughter dancing in the woods. He feared if the truth got out that he would lose his status, his power, his strength. To escape this feeling, rather than face the truth, he lied and went along with the story that the girls were “possessed”. Now Reverend Parris feared embarrassment, awkward of ashamed feeling. But is does not compare to the fear of your life.
While storytelling can change and shape a reader’s opinions and perspective, it might also be the closest in helping O’Brien cope with the complexity of war experiences, where the concepts like moral and immorality are being distorted. “How to Tell a True War Story” and “Ambush” are stories that both explore on topics: truth, the real definition of a true war story, and the role of truth. O 'Brien starts off “How to Tell a True War Story” with “This is true.” Starting this story with such a bold sentence not only makes it seem more true, but to some extent, it acts as a comfort statement to the narrator’s own doubts, as if there were unspeakable uncertainties and lies of the narrator. The title of this story also comes into play, with a meta-fictional name “How to Tell a True War Story”, as if it were a guide, a manual, having a true war story tell the readers how to tell a true war story. However ironically, towards the middle of the story, us as
This is significant because if the reader remembers back to the very first chapter when phantom had not been introduced yet, a man named Joseph Buquet was hung below the stage on the third mezzanine with a Punjab lasso. The connection can be made that Joseph was taken into the torture chamber by Erik and Joseph had fallen for the illusion that the room provides and he hung himself. In addition to this, the reader knows that Erik has many traps within the opera house. The most menacing being the torture chamber, which is described as a desert. It is not said why Erik chose the setting of his torture chamber to be a forest but I suggest that it is because of the fact that phantom was creative in the way he did things.
I believe that John Proctor grows tired of the accusations, as to why he speaks of his false involvement with Satan in front of the town. Specifically, Deputy Danforth uses John Proctor as an example for conviction as he is certain he will be able to turn others
Trying To Look Honest by Hannah T. In the “trying to look tough” passage Holden is trying to be vulnerable with the reader, but he doesn’t know how to and he fears potential judgment. Holden begins the “trying to look tough” paragraph by saying that he “didn’t give a damn how [he] looked.”(99) as he puts on his hunting hat. This can’t be true, as he proves his concern in the simple act of noting how he must appear to others. The reader can see however that Holden wants to be able not to care what others think of him. He uses this declaration to preface a paragraph entirely devoted to how he wishes to be versus how he is.
In the novel The Things They Carried, Tim O’Brien expresses to the reader why the men went to the war and continued to fight it. In the first chapter, “The Things They Carried,” O’Brien states “It was not courage, exactly; the object was not valor. Rather they were too frightened to be cowards.” The soldiers went to war not because they were courageous and ready to fight, but because they felt the need to go. They were afraid and coped with their lack of courage by telling stories (to themselves or aloud) and applied humor to the situations they encountered. The men who served in the Vietnam War were just barely men, some of them were just hitting the age twenty.
To begin with, The Red Badge of Courage does not show an “absolute and uncompromising allegiance to obscenity and evil,” because throughout the novel, good deeds are shown, and Henry finds role models that are ideals of virtue in war. For example, the loud soldier takes care of Henry after Henry has supposedly been shot in the head, and he lets the youth use his bed and blankets for the night. According to O’Brien, that would not be done in a war story, because in them there is no virtue, there is only an uncompromisable allegiance to evil. No story with that allegiance to evil in it would show kindness, or men taking care of one another. Despite Henry giving the reader several examples of slipping
Lt. Cross’s other character shortcoming is his emotional and personal inability to lead the Alpha Company. Cross zealously guards a picture of a girl named Martha, who is not even his girlfriend, to continue with his strong linkage to love as well as his livelihood. However, he fails to remember the connection between love and war in the plot. He depends upon his love for Martha as a huge escape from the reality of war. Unable to handle the combination of being in love as well as being in the war at the same time, his love for Martha arrays itself in his mind as fiction.
The play is consequently written not about the down fall of its hero but around the chronological stages by which Bolingbroke threatens, captures, and retains the crown. Throughout a tragedy play readers suffer with the hero and feel sympathy for the hero but it does not happen with Richard II. So the play cannot be claim as a tragedy. From the point of view of Harold Bloom, it can be mentioned that Richard II is not a character of a real tragic hero because of its having lack of the qualities of a tragic hero. In the same way he is an incomplete politician also.