... impacts the main characters. Each of the three primary characters is an aesthete and meets some form of terrible personal doom. Basil Hallward's aestheticism is manifested in his dedication to his artistic creations. He searches in the outside world for the perfect manifestation of his own soul, when he finds this object, he can create masterpieces by painting it (Bloom 109). He refuses to display the portrait of Dorian Gray with the explanation that, "I have put too much of myself into it" (Wilde 106). He further demonstrates the extent to which he holds this philosophy by later stating that, "only the artist is truly reveled" (109). Lord Henry Wotton crit ...
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... both of you of my inclining and the rest. Were it my cue to fight, I should have known it without a prompter" (I, ii, lines 80-3). The power shown here is quite astounding. The nature of Othello's character is of a dark man. A dark man, not only because he is black, but also because his whole person is very mysterious. He is mysterious in that he believes there is magic brewing everywhere. With this dark side he is also very outgoing, and not very bright. It is almost too easy for Iago to trick him into believing that Desdemona is unfaithful. Though he doesn't reflect too much on his past, it is apparent that he has been very successful in many battles ...
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... not budge, Reefy did not attempt to reopen the dusty window again. Reefy was so devastated about his wife passing away that he did not care about him self for over ten years. The young woman was well off and needs to find a husband to help her take care of the farm that she inherited from her parents. She was tall, dark, and beautiful with lots of money. As the unwanted “twisted apples” are left on the tree to rotten -- so is Doctor Reefy left to waste away. The “twisted apples” are left because they do not keep up with the standards and are not very appealing. Reefy is not wanted anymore because he is a “twisted apple.” He as aged and is not attractive ...
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... understanding many issues. He is imaginative and clever, and has a sharp eye for detail, though he doesn't always understand everything he sees, or its significance. Huck is essentially a realist, he knows only what he sees and experiences. He doesn't have a great deal of faith in things he reads or hears. He must experiment to find out what is true and what isn't. In general then, Huck's attitude seems to be that if you let other people alone, they won't come around disturbing your peace and quiet. There doesn't seem to be any percentage in stirring up trouble by getting people all excited. Things won't be changed. An illustration of this is supplied by Dr. Rob ...
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... man is a constant reminder of the horrible deed that he has performed, and he begins to project his hatred of self onto his disfigured cat. As his notions of remorse further deteriorate his unsound mind, he destroys the object and source of his offense. With guilt eating away at his conscious, the man's sanity falls further into degradation, and he unleashes his cruelty on an innocent victim. The narrator describes the force of destruction that drives him as "the spirit of Perverseness", and this impulse causes him to remorsefully hang the cat because he knows that it loves him and it is an act he should not commit (para.9). The appearance of the second b ...
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... on including the significant characteristics of Austen's characters, sometimes in more than one person. If he had tried to copy the nature of the Mansfield Park people the movie would not have been believable. Viewers would not like a perfect character like Fanny, in fact they would probably distrust her more because she was perfect. At the beginning of the movie Audrey Rouget is introduced, obviously meant to be a version of Fanny Price. She is shy, slight, and the appears to be younger than the rest of the group. Like Fanny, she really hasn't "come out" yet. At first, she is enamored with Tom Townsend, then hates him for leaving her looking stupid when he was ...
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... change in the next few hours. Pepe returns home deep in the early morning hours ofthe next day and he has gotten everything his mother asked for and more. He has entangled himself in trouble. His knife, which his dead father had given him and of which he was so proud, has killed a man in an accident. A man said names to Pepe that he could not allow, and before Pepe knew it, the knife "went almost by itself." Pepe is changed from boy to man with one slip of the wrist. Now Pepe must flee for his life. The author allows a major amount of space in the story for setting. As Pepe leaves his family, he follows harsh, rocky, and unforgiving land. A parallel to the unforgi ...
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... year-old. But the fact of the matter remains. Mary Shelley was eighteen going on nineteen when she wrote Frankenstein. Taking this into account, it becomes more apparent that Shelley was not commenting on social aspects of her time or the feminist movement that her mother helped create, rather, she was simply expressing her feelings as a teenager, as so many of us need to do. These feelings of isolation, separation, and being misunderstood, all of which are not uncommon to many teens, are in fact the same as those experienced by the monster in Frankenstein. In this way, the monster most likely is a representation of Mary Shelley. Almost all of us can ...
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... to the downs. We see she is complete control of hers and Simon’s relationship, right from the beginning. “ “I’m not going up there alone.” Simon has a sudden sense of being out played.” Here Simon knows that she has no intention of letting him go. I think Charlie is a very independent girl. “Who cares what other people think?” She also shows she is independent by being in the village without her dad. We know that Charlie is quite caring from when she won’t give Simon any sugar for his tea. She playfully argues with him. “It’s bad for you.” Charlie is a very clever girl. She has eleve ...
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... to newspapers and magazines. By the time he left graduate study at Columbia University in 1900, he had published ninety stories for magazines like Army and Navy Weekly. What turned Sinclair to more serious literature was an traumatic religious experience. From his friendship with a young minister, Sinclair got a devotion to moral and social justice. The Reverend, W. W. Moir took the Gospels so seriously that he taught his students that a rich man had no chance of going to Heaven. When he gave Sinclair some works to read, Sinclair found them so contradictory to Moir's teachings, he lost faith in orthodox religion, but for the rest of his life he did believe in the ...
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