Roderick and Madeline Usher have been riddled with many illnesses as a result of the many generations hailing from a “direct line of descent” (Poe 196). The twins are the last members of their family and are on the edge of extinction. It can be possible that the Usher’s had turned their backs on God and “betrayed the Holy Ghost in themselves” (The Fall of the House of Usher 167). As the last of the Usher House, Madeline and Roderick symbolize the end of “an Enlightenment tradition still standing but about to collapse” (The Fall of the House of Usher 167). The physical house reflects the end of the Usher bloodline as it still stands on the edge of ruin, away from civilization.
Poe had experienced tragic events in his childhood, and he may have found writing stories and poems as a form of releasing stress. Poe seems to be off about his actions when he writes a story or poem. “The Tell-Tale Heart” connects with the “The Fall of the House of Usher” because, in The Tell-Tale Heart, the narrator was being haunted by an old man he had killed by cutting up his body parts and then stuffing them under the floorboards of the old man’s home. The old man came back to haunt the narrator with the sound of his beating heart. In the Fall of the House of Usher, Madeline breaks free from her tomb and causes Roderick to have a heart attack because Roderick mistakenly buried her alive.
Mallard. The two true themes of this story are loss and irony and Mrs. Mallard embodies both of these. The theme of loss is littered throughout this story; first Mrs. Mallard thinks that she has lost her husband; second she finds out that she has lost her new freedom, and finally Mr. Mallard loses his husband. While many readers may see Mrs. Mallard’s death as the greatest loss, Chopin’s writing suggests that it is instead the loss of new life that Mrs. Mallard has so quickly discovered. She had her entire new life planned out, and it all came crashing down within an hour.
He reads it again, wonders what his family will think, wonders who will tell Mutti. He feels sad for Mutti. He knows his death will be hard on her.” A Lot of quite sad events happened like this in both stories, which built a lot of Tension. Also, we see a flashback of Helmuth dying and saying goodbye to his friends and his family in letters. In “The Devil’s Arithmetic,” on pages 160-161 it says “She stopped as the dark door into Lilith’s Cave opened before them.
His decision to kill Macduff’s family was one that cost him his life. Macduff immediately retaliated and unleashed his army upon Macbeth’s army with the help of Malcolm. Meanwhile, Lady Macbeth is beginning to go mad, has started to sleepwalk, and has lost her mind. As the enemy forces approach in the distance of Forres, Lady Macbeth kills herself. When the horrific news is revealed to Macbeth he states, “Life’s but a walking shadow, a poor player that struts and frets his hour upon the stage, and then is heard no more: it is a tale told by an idiot, full of sound and fury, signifying nothing” (V. v).
The theme of guilt is expressed by Lady Macbeth, who had taken part in many murders and had convinced her husband to join in. She eventually got consumed by guilt to the point where she took her own life. It is represented through blood imagery, where Lady Macbeth and Macbeth both interpreted the blood on their hands in different ways, but both still feeling the guilt. Lastly it is represented in Macbeth’s internal conflict. As he kills people throughout the play, his guild worsens to the point where he has become a tyrant.
In this story, Nicolas Ravolati, the villain, “treacherously stabbed” Antoine Saverini, the son of his widowed mother. The widow and her dog, Semillante, both experienced terrible grief afterwards in which lack of sleep and persistent howling became a constant. Both were inconsolable after Antoine’s murder. The loss of a loved one evidently affected both of them in traumatic ways. They were clearly wronged, which is underscored by their strong symptoms of grief.
In Chopin 's writing Desiree has a response of hopelessness as well as desperation. When Armand demands her leave from the plantation Desiree seeks her child and “disappears among the reeds and willows… and she did not come back again.” In her fit of sadness and helplessness Desiree kills herself and her son while on the contrary something 's quite different occurs in Dahl’s story. In Dahl’s story he goes in a different direction, making the reader feel the sense of anguish, anger, frustration, and strange return to normalcy the main character undergoes. For example, after committing the murder of her husband, Patrick, Mary acknowledges the fact that she has killed her husband; however, continues with what she was doing beforehand as if her husband who had died by her hand wasn 't lying dead on the floor. She thinks to herself “So I’ve killed him”, then proceeds to continue cooking “She carried the meat into the kitchen, put it into a pan, turned on the oven, and put the pan inside.” It is then evident that she was genuinely guilty and felt anguish as she arrived home from the store and found her husband “knelt down beside him, and began to cry… no acting was necessary.” These differences help reveal what the two very different things people could feel after any
Michael deals with this by committing suicide. “Michael Holtzapfel knew what he was doing. He killed himself for wanting to live” (Zusak 503). While Michael deals with guilt by self destructing, Liesel, the main character, handles guilt using other methods. Liesel encounters guilt through the death of her loved ones in addition to the sadness of losing everything she had.
Hamlet has come to see his mother, Queen Gertrude, and ends up stabbing Lord Polonius, which ultimately leads to his death. Lord Polonius’ final words include “O, I am slain!” Even though this provides a slight amount of comic relief to the reader, it has a reverse effect on Ophelia’s mental state. Her father’s death seems to be the potent punch in this fight because she officially goes mad after this final event. This is apparent in Scene IV Act I, when Laertes has come back to visit his sister and check on her well being. He is disappointed to see that Ophelia is displaying irrational behavior when she begins to sing “They bore him barefac’d on the bier; Hey non nonny, nonny, hey nonny; And on his grave rains many a tear.” She is so mentally ill that she must be locked in a padded room during the day.