For example, juxtaposing the divine intervention in Cymbeline and the lack of magic in Much Ado about Nothing creates space to discuss Shakespeare 's multiple rejections of solipsism. Even further, the confusion in Comedy of Errors is able to alienate the audience and challenge their relationship with the work. Rather than close-reading, I have picked secondary sources with analyses that I will use to explore the idea of solipsism in Shakespeare to its full capacity. Barbara Everett 's article, "Much Ado, The Unsociable Comedy," investigates the work 's inability to connect with audience as well as Shakespeare 's other works. Everett examines the disappointment commonly felt in the ending because of the poor development of characters.
“There was a coldness, a sickening of the heart, in which I could discover nothing to lighten the weight I felt” This line perfectly sums up the overall tone of The Fall of the House of Usher. The story at its most basic level is about a man who visits his old friend in a house which is seemingly under some sort of supernatural hex. The way Poe goes into such detail describing the characters and their personal reactions to the events that take place during the story help the reader to stay close to the actions of the story. Additionally Poe describes the house so well that the reader can easily picture the dilapidated mess as if standing in front of it. Poe starts off by setting the tone of the environment.
Reading a work of fiction could be seen as a quiet undemanding job, as all the reader has to do is let the narrator tell him the story while he observes. This, in fact, is not the case. A person who has read the short stories of Edgar Allan Poe will have proof that, for instance, some narrators can be very unreliable. In the short story “The Tell-Tale Heart” by Edgar A. Poe, the narrator describes the events in a highly confusing way that makes the reader question what is real and what is not. The narrator, nameless and not gendered, appears to be mentally unstable even though the text begins with him questioning “How, then, am I mad?” (Poe, 691) in the first paragraph, leading the reader to believe that he’s actually sane.
Rarely when a story is rewritten does it get more ambiguous, and even more rare is the occasion where the more ambiguous piece is longer. However, such a problem is exactly the case in Elizabeth Bowen’s rendition of an age-old ballad “The Demon Lover”. This short story’s ending is left up for debate as to who and what occurred, especially in regards to the lover himself. To look at Bowen’s story through the lens of the ballad, the missing details seem to tell a larger picture. Although Mrs. Drover’s ex-fiance is never properly introduced in “The Demon Lover”, there is sufficient evidence to support the assumption that he is a demon, and he took her away in the end.
Edgar Allan Poe, writing in the first person as an unnamed man, uses syntax to express the idea that the narrator is unstable. Though the narrator spends most of the passage convincing his reader that he is sane, his words have an adverse effect because of the structure. Abrupt sentences and repetition show that the narrator is unable to clearly communicate his thoughts. His words are littered with punctuation marks that
Nothing in the world is perfect. In The Ones Who Walk Away From Omelas, LeGuin Ursula shows how Omelas is a pictured a utopia, but there is its one flaw in their basement. LeGuin’s persuades throughout the story of Omelas that wherever there is light there is darkness. Within The Ones Who Walk Away From Omelas, LeGuin uses multiple points of views and would sometimes ask the reader questions midway through the story. Through the word choices and diction used, LeGuin makes the sentence powerful.
In the case of the seemingly rejuvenated friends, the mirror reflects the same morally corrupt elderly people, despite seeing themselves as young and carefree again. Next, when Hawthorne writes, “eccentricity had become the nucleus for a thousand fantastic stories,” the author uses metaphor. Eccentricity cannot literally become a nucleus. However, Hawthorne uses this phrasing to express how the doctor’s peculiar and unconventional behaviors are the central source of the fables pertaining to him. Furthermore, Hawthorne uses foreshadowing to provide hints about upcoming events in his story.
He thinks women act unflawed to the community and do not take their housework seriously and implies women are promiscuous in bed as well. He says, “You are pictures of doors, bells in your parlors, wildcats in your kitchens, saints in your injuries, devils being offended, players in your huswifery, and huswives in your beds”(1027). Iago saying this to Desdemona echoes and reflects what he will say and imply to Othello to get him to think she is
Comparing Gothic Literature Setting is not equally important in modern Gothic story. In “Fall of the House of the House of Usher” by Edgar Allen Poe, Poe adheres to the traditional settings of Gothic literature. However, in “Where is Here?” by Joyce Carol Oates , Oates doesn’t follow after most Gothic writers and uses a different setting than in most Gothic literature. The setting in “FOTHOU” takes place in a house with a crack down it. The narrator felt a “sense of insufferable gloom” when he took a first glimpse at the house.
Poe is often known for his dark, sometimes twisted short stories and poems. “The Masque of the Red Death” is no exception. In this short story, Poe creates and eerie and ominous mood by using a wide variety of literary techniques including imagery, diction, and syntax. Poe’s use of imagery contributes to the dark and mysterious mood of the short story, “The Masque of the Red Death.” In the first paragraph, a sense of darkness is conveyed in the sentence, “There was no light of any kind emanating from lamp or candle within the suite of chambers.” This precisely explains the darkness of the room because it is mentioned that there was no light of any kind. Another source of imagery that conveys a haunting mood is the sentence in the first paragraph
Henderson tends to be the harshest on women out of the four men. Multiple times throughout the story he voices his opinion to Mrs Peters and Martha. “Dirty towels! Not much of a housekeeper, would you say, ladies?” This quote is making fun of Minnie’s home and how not kept it is. When Mrs Peters spoke about Minnie being worried about her preserves Henderson interjected with “Held for murder, and worrying about her preserves!” showing he does not understand or care about what Minnie thinks.
Another example of how the author establishes the character 's mental state is when she starts noticing the wallpaper and becomes a major conflict to her. Gilman writes, “There are things in the wallpaper that nobody notices but me, or ever will, Behind that outside pattern the dim shapes get clearer everyday (Gilman 441).” At this point in time we now have a better understanding how Jane is irritated by certain things. Her most noticeable aggravation became the yellow wallpaper in her room. Gilman does a good job making her sound crazy by having almost every sentence or every other sentence distinctly focused on the