Madame Giry has to listen to Erik's confused rants about the person/people he likes (could be any ship, especially E/R/C). “Yes, Erik?” Madame Giry asked as the masked figure appeared in her doorway. “I, ah, have some instructions for you to deliver.” Madame Giry gave Erik a dubious look before taking the pro-offered envelope. It was not often that Erik sought after her, more often she was the one to retrieve his instructions in the comfort of his lair. “Thank you,” she said politely and waited for him to disappear again. He didn’t. Instead he lingered awkwardly in the doorway like a stray cat. “Is…” Madame Giry began hesitantly, “Is there anything else I can help you with?” “Yes actually.” A deep sigh erupted from Erik like a ballon leaking air. He collapsed into a nearby …show more content…
“Do about what, Monsieur?” “Feelings!” Erik hissed the word with such loathing that Madame Giry was surprised he didn’t suddenly combust. “Ah,” she said and paused for a moment to let Erik settle down. “Feelings for who?” At this, Erik’s eyes slid to the floor. “If I told you, you wouldn’t approve.” “I daresay I wouldn’t approve of many things that you do.” Erik rolled his eyes- the action so familiar to her because of Meg that she had to resist the urge to snap at him. “Does this have anything to do with a young Christine Daaé?” Madame Giry asked cautiously. Erik stayed silent, avoiding her gaze. Oh dear, Madame Giry thought. This was above her payroll. Delivering instructions from a ghost, that she could do. Comforting and advising him, however, remained far outside the realm of possibility. Madame Giry was awakened from her thoughts when Erik broke the hush that had fallen. “…Christine is only half the problem,” he admitted, tugging on his neatly tied ascot. Madame Giry looked at him with a bemused expression. “And what, pray, is the other half?” She questioned. Erik opened his mouth as if to answer, but clamped it shut before it could betray
“ Yes Jonas, to truly reach Elsewhere, you must embrace what took the rest there” she gulped.
" I wish I could have helped more but hey did you hear about Lord Williamson " she says in a hushed tone. I stop and I turn around quickly.
“Just weeping. I can still hear her weeping now sometimes. I know the exact sound of it, like a note you hear or a song that keeps spinning around in your head and you can’t forget it.”
“I wouldn’t do a thing like that. Why would I do a thing like that?” she said.
“Yes, it is me, no need to whisper though.” She stated, playing around with the hem of her shirt. “I need to talk to you.” She said plainly and Philip kept blinking his eyes, wondering when she would vanish again.
“I was literally able to find joy in the extraordinary fight of heroism the occasion demanded of me (324).” After the governess’s first vision of a ghost, she is delighted that so that she could use this opportunity as a tool to rise as a hero. She also comments that she would thus we able to “succeed where many another girl may have failed (324).” By rising as such a hero, eventually she would obtain the notice and approval by her master.
In Chrétien de Troyes' Ywain, women represent the moral virtue and arch of all mid-evil civilization. Women of this time had to be an object of love, which meant they had to have beauty, goodness, and be truthful. They had to be a representative of all chivalrous ideals. They also act as civilizing influences throughout the story. Women are put in the story to give men a reason for acting brave and noble. Men become knights in order to demonstrate to women that they are strong and capable of defending themselves against danger. This, they hope, will win the women's heart.
In Yönec and Bisclavret by Marie De France, the element of the supernatural is used to emphasize virtue. Those who embrace the supernatural are portrayed as worthy and morally upright, while those who are repulsed by the supernatural are portrayed as evil and immoral. In Bisclavret, the lord's supernatural situation draws attention to the virtues of love and loyalty. In Yönec, Muldumarec's shape-shifting abilities are used to emphasize the virtues of courtly love. Muldumarec's prophecy before his death establishes him as a character who is so virtuous that he is blessed with prescience. In both tales, those who stand between a supernatural being and their pursuit of virtue are severely punished.
Grace King's The Little Convent Girl is an excellent example of post-Civil War realism incorporating a trick-ending. In this local color short story, King methodically lures the reader into a false belief that her story is about an insignificant and nameless young girl who, after twelve years seclusion in a convent, is exposed to the fervor and excitement of a steamboat trip down the Mississippi River. The success of Ms. King's trick-ending is achieved through three basic elements; 1) de-emphasizing the importance of the main character, 2) tidbits of information followed by wordy misdirection, and 3) a false climax.
“See him?” she asked, turning towards the elderly man sitting in the rocking chair next to the window. Slowly, the man turned, his eyes following the little girl’s pointing finger. He nodded. “I sure do,” he replied with a smile, knowing that there was no one outside.
In restless sleep and longing for contact with those outside of Bly-- particularly her employer-- the governess placed hope in chance meetings of random individuals. In her walk in the yard, the governess began to wish for the sight of her employer who she was still madly in love with. The governess's desire to see him and receive his reassuring approval conceived the ghost of what was later revealed to be Peter Quint she believed she had seen. Later in her climax of interaction with her ghosts, the governess is afraid that the master will come home, for she is fearful of what he will think of her.
"No, Madame, I would like to hear what she has to say!" Tromper leaned forward. "This doesn't have anything to do with the supposed Phantom of the Opera, does it?"
“How dare you,” She shouted at him, “How dare you say something like that,do you have any sort decency?” Brent turned to face her.
Behind her she heard the terrified sobs of Olivia. Her own eyes also weighed with tears. But she reached into some unknown strength in herself so that her hands would not tremble
"Erik," she murmured, running her porcelain fingers across his twisted face. He used the last of his energy to turn his head towards her, the faintest hint of a smile across his lips. As Erik's gaze joined with Christine's for the ultimate time, he took in a shuddering breath in order to speak.