The letter of the law upon which Billy Budd is hung is read by Vere: "In wartime at sea a man-of-war's man strikes his superior in grade, and the blow kills. Apart from its effect the blow itself is, according to the Articles of War, a capital crime" (Melville 363)
This paper will analyze Phaedra and the triple theme of origin, innocence, and sin, and show how it compares to Blake's poem and Melville's novella. The difficulty of dissecting Phaedra in any language other than the original French is something that has plagued translators of Racine, as Robert Lowell demonstrated in 1961 (Ricks 44)
Torvald relentlessly demeans and belittles Nora, making her feel as fragile as a doll in a dollhouse. When she does manage to assert herself, she gets backhanded with comments from her husband such as "And you actually have the nerve to drag that up again? (Ibsen, p
"I love them!" said the Nibling. I sat down and didn't know what to say" (Jansson 147)
"I love them!" said the Nibling. I sat down and didn't know what to say" (Jansson 147)
On the Star you were forced to learn to write a simple declarative sentence. That's useful to anyone" (Desnoyers
In the text, the living creatures of nature, confirm that she is one of them: "The old pine must have loved his new dependent. More than all the hawks, and bats, and moths, and even the sweet voiced thrushes, was the brave, beating heart of the solitary gray-eyed child" (Jewett, 12)
In the street below a peddler was crying his wares. The notes of a distant song which someone was singing reached her faintly, and countless sparrows were twittering in the eaves" (Chopin, 36)
When considering the circumstances in the poem, it appears that he was wrongfully accused and murdered by individuals who did not actually understand the nature of their act. By constantly relating to the location where the poem takes place, "Way Down South in Dixie" (Hughes 223)
On the surface, it would appear that Sally has everything a woman could want -- an attractive, affluent husband, a beautiful house, some degree of wealth and fairly good looks herself. Atwood informs the reader of this fact when Sally reflects that, "She has what they call everything: Ed, their wonderful house on a ravine lot, something she's always wanted" (Atwood 783)
In fact, such a combination frequently serves as the ultimate fairy tale paradigm for a number of women. There are also elements of this model demonstrated in the original Bluebeard fairytale in which a woman marries to achieve wealth and through that wealth attains happiness (Hermansson 312)
In Perrault's work the climax produces unequivocal good -- the wife can distribute her noxious husband's wealth among her family and live as she sees fit. In Atwood's version, however, the climax helps to cast doubt on virtually everything that Sally has perceived through the story (Lyons 313), which emphasizes the distinction in point-of-view between these two fables
Carolyn Merli (2007) both mentions this propensity and also is disposed to "consider the "post modern" strategies of one of Atwood's, Bluebeard's Egg." Postmodernists will find a variety of pieces of evidence to justify an analysis of Atwood's titular work from this collection via this perspective, such as her temporal displacements (Ridout 856) in which the narration leaps forward and backwards in time despite the chronicling of a single dinner party
Novels such as Things Fall Apart depict how internal power structures and constructions of masculinity left the native African population vulnerable to infighting and colonization and that the act of colonization is an intellectual as well as a physical one. "Postcolonial theory has brought fresh perspectives to the role of colonial peoples -- their wealth, labor, and culture -- in the development of modern European nation states" (Brewton 7)
"In it, she describes the circumstances surrounding the suicide of a young Bengali woman that indicates a failed attempt at self-representation. Because her attempt at 'speaking' outside normal patriarchal channels was not understood or supported, Spivak concluded that 'the subaltern cannot speak'" ("Spivak, Gayatri Chakravorty," Postcolonial Studies @ Emory)
Neither character can provide for their families as they had in the past. Here, Kafka writes, "at that time Gregor's sole desire was to do his utmost to help the family to forget as soon as possible the catastrophe that had overwhelmed the business and thrown them all into a state of complete despair" (Kafka 76)
Kafka was known for creating experimental works of literature, pieces that threw out traditional literary conventions in order to generate shock and awe in his stories and novels. Thus, literary critics have often praised "Kafka's ability to elicit a sense of the absurd" (Proulx et al
In the end, this is partly results in him realizing how unhappy he lived his whole life. In fact, Tolstoy opens the novella with the words, "Ivan Ilyich's life had been most simple and most ordinary and therefore most terrible" (Tolstoy 15)
In the end, this is partly results in him realizing how unhappy he lived his whole life. In fact, Tolstoy opens the novella with the words, "Ivan Ilyich's life had been most simple and most ordinary and therefore most terrible" (Tolstoy 15)
Sedgwick expresses this quite well on pages 105-06 as she shines light on why the Pilgrims originally came to the New World: "…When they came to the wilderness, they said, truly…they did virtually renounce all dependence on earthly supports; they left the land of their birth, of their homes, of their father's sepulchers; they sacrificed ease and preferment, and delights of sense -- and for what? To open for themselves an earthly paradise? To dress their bowers of pleasure, and rejoice with their wives and children? No: they came not for themselves, they lived not for themselves. An exiled and suffering people, they came forth in the dignity of the chosen servants of the Lord, to open the forests to the sunbeam…to restore man oppressed and trampled by his fellow…to replace the creatures of God on their natural level; to bring down the hills, and make smooth the rough places…[and they saw] a multitude of people where the solitary savage roamed the forest…the forest vanished…the consecrated church planted on the rock of heathen sacrifice…" (Sedgwick, 1842)