In Gabriel García Márquez’s novella, Chronicle of a Death Foretold, the character development of Angela Vicario demonstrates that she is guilty for Santiago Nasar’s death; however, the different aspects of the hispanic culture also share the blame. Márquez develops Angela Vicario’s character as a deceptive and gullible young girl which highlights her being guilty for Santiago Nasar’s death. Angela’s husband Bayardo San Roman finds out on the night of their wedding that Angela is not a virgin, and returns her to her family. Angela only considers telling her mother that she is no longer a virgin, but ultimately decides against it. Before her wedding, she panics, and worriedly asks for help to the women who make cloth flowers with her.
Later in the same scene... ... middle of paper ... ... the brains out” of her own child as “it was smiling in [her] face” than break such strong a promise. Macbeth then worries that the plan will fail, but Lady Macbeth strongly convinces him that if he is courageous enough, they can’t fail. By manipulating her husband with such intent, Lady Macbeth further proved herself to be responsible for King Duncan’s death. Lady Macbeth is the most responsible for the death of King Duncan. While the witches in the play provide the motivation for Duncan’s betrayal, they never instruct Macbeth to take his cousin’s life, yet Lady Macbeth does.
A young couple which got married and on the following day of their wedding, the groom rejected the bride, as she was not a virgin. She was determined to have had relations with her boyfriend, who was later murdered by the bride’s two brothers in order to avenge the family’s honor. Marquez has made
William’s escape, as well as the sight of an unmarked police car, infuriated Hayes and he “snapped”, strangling Jennifer to death and dousing her lifeless body, as well as the rooms holding the two daughters, with gasoline (Sifler). Prior to fleeing the scene with the family car, Hayes and Komisarjevsky lit the hou... ... middle of paper ... ... Snapped," Says Stephen Hayes, Convicted in Deadly Conn. Home Invasion." CBSNews. CBS Interactive, 9 Sept. 2013. Web.
Unlike many of Poe’s peers, Poe did not turn to other literature as a source of inspiration, but instead turned to “his imagination and the experiences he went through” (Eckert). Poe paved his own way through the literature world by exposing the dark physiological aspects of sociopaths. Most of Poe’s narrators mirror him in the fact they often become overwhelmed with death in their life. For example, death was always occurring as a constant in Poe’s life and in his story “The Cask of Amontillado” the narrator obsesses over the way to kill his enemy, and then as he tells the story fifty years later he is still obsessing over the way he killed him and how no one has ever found the corpse. As Tony Magistrale perfectly stated “the obsessions of Poe’s sociopathic criminals usually center upon a person or object that symbolizes personal oppression: an intolerable insult, a black cat or a vulture like eye”
By adding variety to his characters’ reactions, Poe shows the reader that while death is universal, the way each person deals with it is unique. However, the repetitive theme of death makes Poe appear as a single-minded writer to many of his readers, only able to focus on the negative aspects of life. However, if one looks more closely at “The Tell-Tale Heart” and “the Pit and Pendulum” one sees otherwise; while both clearly express the impending nature of death through different symbols and imagery, both subtly show that even when life is filled with darkness, there is always light, showing that while Poe was a dark and troubled man, he was always hopeful something positive was going to occur. People have completely different opinions about Poe’s writing style, their opinions ran... ... middle of paper ... ...d” the lantern in such a way that “that a single thin ray fell upon the vulture eye” (Poe, 303). On the eighth night, the ray of light and the eye “meet”.
Death is the reason people are scared to live their life to the fullest. Death can be a heart rendering disaster to some. But it can teach you a lesson and make you grow. Gunga Din, Funeral Blues, and Harry Potter and the Sorcerer’s Stone all have the theme of death, because it gives suspense for the reader and gives the characters in the stories a motif as to who they are as characters. Gunga Din, written by Rudyard Kipling, is a poem about a native water-bearer who is killed after he saves the life of a soldier.
However, the authors also highlight the positive aspects of human nature, the great love, courage and loyalty which manages to emerge unscathed out of the most horrific circumstances. As I have already mentioned both The Crucible and Birdsong explore man's capacity to kill other human beings. The two pieces, however, approach this subject in very different ways. Arthur Miller's play, set during the Salem Witch hunt, concentrates on the various emotions, such as fear, greed and revenge, driving individuals to accuse their friends and neighbours of witchcraft. Birdsong, on the other hand, depicts a much larger conflict and focuses more on the ability of the soldiers to withstand the horrors that they are witnessing and committing everyday.
She even wishes that she were not a woman so that she could do it herself saying in Act I, Scene 5, "Come, you spirits that tend on mortal thoughts, unsex me here." Lady Macbeth manipulates her husband with astonishing success, overruling all his objections. When he does not wish to murder, she frequently questions his manhood until he feels that he must kill King Duncan in order to prove himself. They are both blinded by ambition; nothing will stop them from gaining the throne. Macbeth feels remorse immediately following the murder, but Lady Macbeth assures him that everything will be fine.
On the other hand, Montresor, is happy to see Fortunato but for his own despicable reason: that of murder. One of the most horrifying lines in the story is given by Montresor after Fortunato says, “I will not die of a cough” (Baym ). Montresor says, “True— true....” (Baym ). It seems that Montresor 's murder plot became subconsciously manifest in those two words. Dramatic irony is irony that is inherent in speeches or a situation of a drama and is understood by the audience but not grasped by the characters in the story (“dramatic-irony”) and Poe uses this effectively in this story.