The brilliant fall sun shone strongly through the chipped edges of the horse shelter entryway, faintly scratching the edge of George's stubbled cheek. George profoundly murmured gazing vacantly at the blurred pencil markings on the divider. His hand put under the cushion getting a handle on the delicate bundle of fleece as though out of displeasure and bitterness. By his bunk a little wooden stool was set slantedly on the wooden floor, one leg lifted by a nail goading out of the ground. On the stool a plate, four-sided fit as a fiddle was set, containing steamed vegetables, the shading vanishing in a thick exhibit of steaming smoke. George gazed at the paint that disintegrated effectively, the divider secured in a variety of paint peelings, uncovering the old wooden boards underneath. There was a slight breeze that cleared over the room, Candy shuddered as he lay in his bunk …show more content…
The hack sounded old and no little matter. George and alternate folks stood up and looked over at Candy who looked hit with extraordinary torment while hacking up blood that splattered on the wooden supports. George kept running over to Candy and worryingly took Candy by the shoulders, "you allright' Candy? Whats happenin'?" Candy gazed toward George with completely open eyes and mumbled, 'it mah time George, I gotta go, I ain' going to make it, yet sick tell ya one thing, can ya do it?" George without thought replied, "ofcourse I can Candy, what is it?" "You move to the homestead tomorrow, and ya settle in, however do one thing for me, purchase a puppy, a solid, sound sheepdog and train him like mah old one, will you do that George?" Candy addressed with half shut eyes. "I'll do that sweet, sick name the homestead after Lennie and purchase a few rabbits as Lennie needed and purchase a puppy and name him like your old one". Sweet endorsed by gesturing his head, before shutting his eyes consistently and falling
“Servant trouble…political worries…almost neurosis…drinking increased…arguments with Scottie…quarrel with Hemingway…quarrel with Bunny Wilson…quarrel with Gerald Murphy…breakdown of car…tight at Eddie Poe’s…sick again…first borrowing from mother…sick… ‘The Fire’…Zelda weakens and goes to Hopkins…one servant and eating out.” (Mayfield 207)
The guest waked from a dream, and remembering his day’s pleasure hurried to dress himself that might it sooner begin. He was sure from the way the shy little girl looked once or twice yesterday she had at least seen the white heron, and now she must really be made to tell. Here she comes now, paler than ever, and her worn old frock is torn and tattered, and smeared with pine pitch. The grandmother and the sportsman stand in the door together and question her, and the splendid moment has come to speak of the dead hemlock-tree by the green marsh. But Sylvia
I am not the type of girl that gets startled easily but, you can’t help but to get chills when you watch the film Candy Man and read the novel The Forbidden. Both perspectives of this scary yet insightful figure is enough to keep you on your toes while following each story. The Candy Man and The Forbidden keeps you intrigued with its turns and twist to the story. I found it hard to follow the story line but, this worked to the writers benefit. The twist and turns forced me to pay attention to things I would have missed if everything was clear. One aspect of both stories that was clear was, the difference between the image of the Candy Man in the Candy Man and The Forbidden.
Sitting in their cottage, mayhap talking of the soldier brother, there fell upon the ears of these defenseless home-keepers strange sounds: the galloping of horses, the clanging of swords, frequent shots, sharp, quick commands. They wondered what all this clamor could mean, and rushing to the porch, they saw companies of men clad in blue, all riding in hot haste toward the bridge over the creek. They were beating and spurring their brutes [mules], which seemed weary under their human burdens, and in their dumb way resenting the cruel and harsh measures used to drive them to greater and more strenuous effort.
Couldn't swim a stroke. He damn near drowned before we could get him.”. in this environment the strong characters attack the weak an example would be when Carlson bullied candy in to killing his dog "I'll put the old devil out of his misery right now," (p.47) and the weak ones attack the weaker, like when crooks picks on Lennie "jus' s'pose he don't come back," (p.72) Lennie is by far the most venerable because of his mental disability, making him easy to manipulate. Candy and his dog reflect George and lennie, George being candy and lennie being the dog, this is because much like the dog lennie depends greatly on George, and just like the dog lennie gets shot in the back of the head with the same gun that was used to kill the
One of the guys (Carlson) told Candy that he would do it for him. Carlson told him just one bullet in the head and he wouldn’t feel a thing. Everyone was agreeing with Carlson so Candy just lets Carlson took the dog. Carlson took the dog and shoot him on the back of the head, and poor Candy was so depressed now that his dog was gone. Laying on his bed Candy overheard George and Lennie talking about their dream of having a little farm and he wanted in. Candy told them that he had some money saved and that he wanted to give to George for the farm if they would take him with, “Maybe if I give you guys my money”.... (30). George was in because he needed the money, they were so excited and George told them that they were going to do this in one month.
Candy shows towards his dog by putting him out of misery. At last Candy said softly and hopelessly “Awright-take im”. A parallel scene which escalates this dilemma when Lennie has accidently killed Curley’s wife and George is forced with a decision with letting Lennie face a violent death or a more peaceful one by his own hand. “The hand shook violently, but his face set and his hand steadied. He pulled the trigger”. The technique used is foreshadowing as the shooting of Candy’s dog foreshadows a later dilemma that George must face. Irony is also used when George has to kill Lennie as he sacrifices his own needs and is forced wellbeing to protect his friend.
IT was a chilly November afternoon. I had just consummated an unusually hearty dinner, of which the dyspeptic truffe formed not the least important item, and was sitting alone in the dining-room, with my feet upon the fender, and at my elbow a small table which I had rolled up to the fire, and upon which were some apologies for dessert, with some miscellaneous bottles of wine, spirit and liqueur. In the morning I had been reading Glover's "Leonidas," Wilkie's "Epigoniad," Lamartine's "Pilgrimage," Barlow's "Columbiad," Tuckermann's "Sicily," and Griswold's "Curiosities" ; I am willing to confess, therefore, that I now felt a little stupid. I made effort to arouse myself by aid of frequent Lafitte, and, all failing, I betook myself to a stray
“It was a large, beautiful room, rich and picturesque in the soft, dim light which the maid had turned low. She went and stood at an open window and looked out upon the deep tangle of the garden below. All the mystery and witchery of the night seemed to have gathered there amid the perfumes and the dusky and tortuous outlines of flowers and foliage. She was seeking herself and finding herself in just such sweet half-darkness which met her moods. But the voices were not soothing that came to her from the darkness and the sky above and the stars. They jeered and sounded mourning notes without promise, devoid even of hope. She turned back into the room and began to walk to and fro, down its whole length, without stopping, without resting. She carried in her hands a thin handkerchief, which she tore into ribbons, rolled into a ball, and flung from her. Once she stopped, and taking off her wedding ring, flung it upon the carpet. When she saw it lying there she stamped her heel upon it, striving to crush it. But her small boot heel did not make an indenture, not a mark upon the glittering circlet.
Mian Mian’s novel Candy, takes a deeper look into China’s economic upbringing to the modern world. The book is entirely narrated by Hong – a fictitious character who levels with the exploding populous of drugs, prostitution, and new-age music through her early adult years. She meets a young musician named Saining who both fall hopelessly in love for each other. The binding relationship of Saining and Hong did not go un-aided, as the social repercussion of heroin and alcohol soon found its way into controlling their lives and eventually their future as a couple. When Saining found an entry to escape the world with heroin, he would inevitably leave Hong out. Consequently, if either of them was in absence of any substance, they fell out of each other’s “wavelength”. In turn, both would sequentially drop in and out of each other’s wavelength that proved fatal to their relationship. To maintain order of this relationship, indulgence of alcohol and heroin was their only answer, and eventually a self-botched religion.
When he arrived at the home the servant who took his hoarse and directed him to the room that Mr. Usher was in greeted him. Inside the house was also very ornate, but it to had also been left alone for to long. The entire house had a gloomy atmosphere that would put a chill down most people’s spines. When he entered the room his friend was staying in he was warmly welcomed. He could not believe the changes that his dear childhood friend had endured.
The next night one of the workers persuaded Candy about his dog and telling him that he should kill him so he didn’t have to suffer. They killed the dog because of its old age, which was the best thing to do. After Lennie watching the dog being killed he asked George about what their plans were again for the future of them. George repeated it and said as soon as we get enough money we will buy a house with a few acres of land, and a few animals.
Pyle, Fitzroy. The Winter's Tale: A Commentary on the Structure. New York: Routledge & Paul, 1969.
Pyle, Fitzroy. The Winter's Tale: A Commentary on the Structure. New York: Routledge & Paul, 1969.
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