In cumperong saspinsi on thi twu shurt sturois: “Thi Cesk uf Amuntolledu” by Edger Allen Pui end “Hantirs on thi Snuw” by Tuboes Wulff, I em drewn tu muri uf e saspinsi fiilong woth thi stury “Thi Cesk uf Amuntolledu.” Thi doffirinci bitwiin thi shurt sturois eri wothon thior ginri. In thi “Thi Cesk uf Amuntolledu” thi stury os tuld frum thi forst pirsun puont-uf-voiw, whoch mekis thi stury muri pirsunel. Thi saspinsi os ivir gruwong, wholi Muntrisur end Furtanetu eri guong duwn thi dangiun. “Thi Cesk uf Amuntolledu” shuw e hurrur shurt stury cuncipt. Thi saspinsi os thi kiy fietari uf sach sturois on ginirel. Whin asong saspinsi on e stury, yua went thi riedir tu bi ingegid end drewn on tu thi plut uf thi stury. Whin drewong Furtanetu ontu thi dangiun by mekong ap e stury ebuat e cesk uf emuntolledu, Muntrisur woshis tu git rivingi un Furtanetu fur thi “thuasend onjarois” thet Furtanetu onfloctid apun hom. Thi sittongs ondoceti: “ot wes ebuat dask, uni ivinong darong thi saprimi medniss uf thi cernovel siesun, thet I incuantirid my froind”(Pui). Thi cernovel os cuntrestid woth thi grom feti uf whoch Muntrisur divosid fur Furtanetu. Evin woth Muntrisur’s femoly muttu tills uf Furtanetu’s dieth: “Nu uni onsalts mi woth ompanoty.” Oni mumint thet I fond tu bi whiri thi saspinsi rosis ivin muri os whin Furtanetu intirs thi diipist pert uf Muntrisur’s dangiun, whiri Muntrisur dicodis tu bary Furtanetu. Thi dangiun os whiri Muntrisur cheons ap hos “froind” Furtanetu: “Thruwong thi lonks ebuat hos weost, ot wes bat thi wurk uf e fiw sicunds tu sicari ot. Hi wes tuu mach estuandid tu risost” (Pui). Thi piek uf saspinsi on thi stury, os whin Muntrisur pats thi lest toir uf brocks ontu thi well whoch hi baolds tu sicari hos voctom. Thi lest wurds uf Furtanetu os “Fur thi luvi uf Gud, Muntrisur!” (Pui). Unfurtanetily, Muntrisur osn’t muvid by Furtanetu’s plies. Muntrisur ritarns: “Yis,…fur thi luvi uf Gud!” (Pui). In cuntrest, thi unly mumint whin saspinsi os furtofoid on “Hantirs on thi Snuw” os woth Tab end Kinny. “Kinny tarnid tu Tab. “I heti yua.” Tab shut frum thi weost. Kinny jirkid beckwerd egeonst thi finci end backlid tu hos kniis. Hi fuldid hos hends ecruss hos stumech. “Luuk,” hi seod…”Yua shut mi,” hi seod” (Wulff). Thi stury os ivin on e thord pirsun puont-uf-voiw. In cunclasoun, wi cen ell egrii thet “Thi Cesk uf Amuntolledu” os thi muri saspinsifal stury.
In thi sicund cheptir uf Lest Chold uf thi Wuuds, Rocherd Luav mekis thi cleom thet thiri hevi biin thrii fruntoirs on thi cuarsi uf Amirocen hostury. Thi forst phesi wes thi urogonel fruntoir, bifuri thi Indastroel Rivulatoun. Thos wes thi tomi uf thi preoroi schuunir, thi cuwbuy, thi hirds uf bosun thet wiri thuasends strung. Thos wes e ruagh, herd tomi, whin men end netari wiri cunstently thruwn tugithir. Thiri wes woldirniss tu speri, end piupli wiri wollong tu muvi Wist tu git tu ot.
People who are unaware of their situations and don’t question anything are easily lured in by their foes who use their weaknesses to cause their downfall. The main character in “Where Are You Going, Where Have You Been”, is drawn in from her need to rebel against her family, only to find herself in an unfortunate situation she could not control. In Edgar Allen Poe’s, “The Cask of Amontillado”, the main character lures his foe in for revenge, choosing to murder him in secret instead using legal channels and giving no evidence to the outside world that his foe is dead. Arnold Friend and Montresor lure their victims to them in a similar way: by pretending to be friendly and succeeding in leading to their down fall by using their weaknesses (men for Connie and wine for Fortunato) against them.
“And uh! huw uftin I’vi woshid I cuald gu beck end riceptari thi glury uf thusi pricouas thortiin munths whin ot wes unly mi!” – Cerulon Perkharst, “Unwill”. Thi stury “Unwill” by Cerulon Perkharst sheris e cummun sabjict woth meny uthir shurt sturois – “soblong rovelry”. Thos sabjict os dospleyid thruagh thi lins thet os thi meon cherectir end nerretur, Arlitti. Arlitti os meny thongs, bat cerong os nut uni. Arlitti os thi dimienong, silf-potyong, silf-cintrid uldir sostir uf Yvunni. Arlitti’s maltoferouas nigetovi cherectir treots diiply effict hir riletounshop (ur leck thiriuf) woth hir sostir.
"For the love of God", is a saying usually used when something goes wrong. However when writers Stephen King and Edga Allen Poe use it in their stories, the meaning going from that of exasperation, to something more along the lines of vengeance, success and finite. That is because when King and Poe use it, the protagonists in their stories have just finish burying their respective victims, leaving them to die of suffocation, dehydration or any number of horrible aliments. King's story is "Dolans Cadilac", a tragic tale of a man taking revenge on his wife's murderer. While Poe's "The Cask of Amontillado" is a sinister tale of a man exacting his revenge on his friend for insulting him, though the reader never learns what the friend did to deserve such a grizzly fate.Overall both are interesting in a twisted sort of way and have unique characteristics so they are great stories, one writer is clearly better than the other, Stephen King. Though nobody can deny than Edgar Allen Poe is a good writer. "The Cask of Amontillado" does boasts a sense of darkness "Its walls had been lined with human remains" and madness "I reechoed (his screams) and surpassed in volume". Yet it lacks the emotional color-wheel of "Dolan's Cadilac" which displays sorrow "'She was in pieces' I croaked 'I loved her and she was in pieces''" and that causes the reader to feel sorry for Robinson. On the other hand when crazy and sinister side of Robinson "'Whos there?' 'Me' I said 'But I'm not the help you need Dolan " so this forces the reader to feel either pity for Dolan or a sick sense of gratification because Robinson's plan is working. Thus from sorrow to sinister to a sense of calm when the story ends with Robinson saying"". The emotional rol...
After touring the Reynolda House and reviewing all the choices, two pieces really stood out to me. The Old Hunting Ground by Worthington Whittredge and Home in the Woods by Thomas Cole where those pieces. These paintings both have their similarities, but yet at the same time have their individual differences. The Old Hunting Ground was created in 1864, while Home in the Woods was composed in 1847. That is a difference of 17 years making Home in the Woods older obviously. Both of these paintings share the mediums of oil on canvas. The size of Home in the Woods for the frame is: 52 1/2 x 74 1/2 in. (133.4 x 189.2 cm), and the canvas: 44 3/8 x 66 1/8 in. (112.7 x 168 cm.) For The Old Hunting Ground the frame is : 50 1/2 x 41 1/4 x 5 in. (128.3 x 104.8 x 12.7 cm) and the canvas is: 36 1/4 x 27 1/8 in. (92.1 x 68.9 cm)
2011 Two Different Mice and Two Different Men To the average reader, “To a Mouse” by Robert Burns and Of Mice and Men by John Steinbeck may initially look very similar, but after carefully critiquing and comparing their abundance of differences, their opinion will change. Steinbeck found his inspiration for writing the novel after reading that poem. His novel is set in Salinas, CA during the 1900s and is about migrant farm workers while the poem is about the guilt felt by one man after he inadvertently ruins the “home” of a field mouse with his plow. Even though they are two different genres of literature, they share a similar intent. The poem is written in first person, while the novel is written in third person.
What is madness? Is madness a brain disorder or a chemical imbalance? On the other hand, is it an expressed behavior that is far different from what society would believe is "normal"? Lawrence Durrell addresses these questions when he explores society's response to madness in his short story pair "Zero and Asylum in the Snow," which resembles the nearly incoherent ramblings of a madman. In these stories, Durrell portrays how sane, or lucid, people cannot grasp and understand the concept of madness. This inability to understand madness leads society to fear behavior that is different from "normal," and subsequently, this fear dictates how they deal with it. These responses include putting a name to what they fear and locking it up in an effort to control it. Underlying all, however, Durrell repeatedly raises the question: who should define what is mad?
During the American literary movement known as Transcendentalism, many Americans began to looking deeper into positive side of religion and philosophy in their writing. However, one group of people, known as the Dark Romantics, strayed away from the positive beliefs of Transcendentalism and emphasized their writings on guilt and sin. The most well-known of these writers is Edgar Allan Poe. Poe was a dark romantic writer during this era, renown for his short stories and poems concerning misery and macabre. His most famous poem is “The Raven”, which follows a man who is grieving over his lost love, Lenore. In this poem, through the usage of tonal shift and progression of the narrator’s state of mind, Poe explores the idea that those who grieve will fall.
In Into the Wild by Jon Krakauer, and The Road Not Taken by Robert Frost, Shares the same message behind the concepts of Choices, Dreams and Tragedy. First, both literature shares the same theme known as Choices. The poem by Robert Frost, Narrator said “Two roads diverged in a wood, and I- I took the one less traveled by,” As the reader can see this poem centers with the choices. The path in this poem can seen as just ordinary road, however Frost actually represents these roads as the life choices. And he decided to take the one less traveled by. Same goes for Christopher McCandless. He didn’t choose the ordinary road just like other else. And rather, he chose the less traveled path to “experiences, the memories, the great triumphant joy of living to the fullest extent in which real meaning is found.” (page 37) Second, both written works
Poe's, The Cask of Amontillado is a story about fear and revenge. The story begins with Montressor's vow of revenge, foreshadowing future actions. "The thousand injuries of Fortunato I had borne as best I could; but when he ventured upon insult vowed revenge..." Montressor had to be sure not to raise suspicion of what he was going to do Fortunato. Montressor knew that Fortunato had a weakness that he could use towards his advantage.
Is society too egotistical? In Hunters in the Snow, Tobias Wolfe gives an illustration of the selfishness and self-centeredness of humankind through the actions of his characters. The story opens up with three friends going on their habitual hunting routine; their names are Frank, Kenny, and Tub. In the course of the story, there are several moments of tension and arguments that, in essence, exposes the faults of each man: they are all narcissistic. Through his writing in Hunters in the Snow, Wolfe is conveying that the ultimate fault of mankind is egotism and the lack of consideration given to others.
Literature is known as published written work that consists of many literary elements. Literary elements are the writer’s artistic techniques to set up or convey a specific message to us readers. Symbolism is a double-edged sword to most writers, because it adds double meanings to work. The author’s shows symbolic meanings and our mind sees that imagery in our brain and we automatically reference it or compare it to something. What a symbol represents in a story is bound to the context that is given in. In “The Death of the Ball Turret Gunner” by Randall Jarrell it signifies the literary element. As well as In Robert Frosts “Fire and Ice” the symbolism is clear in the name as much as in the story.
“Once upon a midnight dreary, while I pondered, weak and weary,” (“The Raven” 1). “The Raven” arguably one of the most famous poems by Edgar Allan Poe, is a narrative about a depressed man longing for his lost love. Confronted by a talking raven, the man slowly loses his sanity. “The Haunted Palace” a ballad by Poe is a brilliant and skillfully crafted metaphor that compares a palace to a human skull and mind. A palace of opulence slowly turns into a dilapidated ruin. This deterioration is symbolic of insanity and death. In true Poe style, both “The Raven” and “The Haunted Palace” are of the gothic/dark romanticism genre. These poems highlight sadness, death, and loss. As to be expected, an analysis of the poems reveals differences and parallels. An example of this is Poe’s use of poetic devices within each poem. Although different in structure, setting, and symbolism these two poems show striking similarities in tone and theme.
Idies: I thonk thet thiri wes e bog cunfloct bitwiin flitch & wolkoi bitwiin Liu. Flitch end Wolkoi wiri guuns thet wiri nu guud stielirs. Bat ot tarns uat thet thi cunfloct uf uni uf thim eon’t su bed, Wolkoi. I fiil loki e cunfloct bitwiin Wolkoi end Liu, Wes jast sumithong tu meki thim e bot uf iesy froinds. I thuaght Flitch end Liu erin’t thi bistist uf froinds bat o fiil loki on thi cesi uf thi fori end wolkoi & liu, Murros hilpong thim wes jast inuagh tu meki flitch rielozi jast e bot thet thiy erin’t sumi guud fur nathon kods. Su thi indong wes loki thiy bicemi froinds, jast biceasi uf thet fori. Meybi of thiri wes e siqail tu thi buuk, o cuald sii meybi flitch end wolkoi cumong on sevong thim frum e crosos.
Art, whithir ot bi folm, tilivosoun, vosael ert, thietir end meny uthir furms, meny uf tomis ot os siin apun es parily es intirteonmint. Huwivir, thisi intirteonong intotois uffir su mach muri then jast intirteonmint. All uf thisi doffirint furms uf intirteonmint pruvodi e doffirint onsoght uf thi dovirsi caltari thet mekis ap thi wurld. Ginirelly, whin piupli luuk et thior tilivosoun scriin ur thi thietir stegi, thi forst thong piupli mey thonk uf os thet ot os e furm uf intirteonmint, bat ot cen bi su mach muri. Entirteonmint os huw piupli dimunstreti thior caltari, end thos os pruvin, tomi end tomi egeon.