Berkley, 1995. Cassuto, Leonard. "The Coy Reaper: Unmasqueing the Red Death." Studies in Short Fiction 25.3 (1998): 317-320. Tritt, Michael.
Prince Prospero is ignoring how people are dying outside of the castle and by throwing a party, he is rubbing in the face of death that he is evading his fate, which he has not. The Red Death ultimately enters the castle and kills all the people proving that one cannot avoid death because death is un... ... middle of paper ... ...th is near. Edgar Allan Poe and Jack London both prove through arrogant protagonists that despite how hard one tries to avoid death, death is predestined. Poe is able to better demonstrate that death is inevitable than London because the plague that struck Prince Prospero’s town is undefeatable however the prince continues to protect himself from his eventual death. The man in “To Build a Fire” is always able to prevent death but he allows death to overpower him by not taking precautions that are able to save his life.
Thus much the business is?(1.2.1-30). In this eulogy, King Claudius gives a very meaningful speech glorifying the dead King Hamlet and then callously stops, and begins speaking about the threat of ... ... middle of paper ... ...he dead for their lives lived. For we will never know whether or not there is a world to come. Notice how Shakespeare casually brings us through this voyage of death from the naÃ¯ve spiritual view to the physical view to the sensible view. Notice how death evolves from two characters sharing the view that death is spiritual to two characters debating on the view of death (with one character giving in to the physical approach, to two characters sharing a completely physical approach to death, to Fortinbras?
As seen here, Hamlet’s contradicting thought that Claudius “goes to heaven” (3.3.79) influences him to change his plans for revenge. Hamlet eventually realizes that he must avenge his father’s death and states “from this time forth my thoughts be bloody or be nothing worth” (4.4.69). From this, Hamlet has succumbed to the social influence and has vowed to avenge his father’s death. Hamlet’s psychological influence demonstrates his dread of both death and life. In Hamlet’s famous soliloquy, “To be or not to be” (3.1.64), he refers the “be” to life and further asks “whether ‘tis nobler in the mind to suffer the slings and arrows of outrageous fortune” (22.214.171.124).
New York: Garland, 1992. Dudley, David. "Dead or Alive: The Booby-Trapped Narrator of Poe's 'Masque of the Red Death.'" Studies in Short Fiction. Newberry College, vol.
Maier-Katkin, Birgit and Daniel Maier-Katkin. “At the Heart of Darkness: Crimes against Humanity and Banality of Evil.” Human Rights Quarterly 26.3 (2004): 584-604. Web. Meckier, Jerome. “The Truth About Marlow.” Studies in Short Fiction 19.4 (1982): 373-379.
"The Coy Reaper: Unmasque-ing the Red Death." Studies in Short Fiction 25 (1988): 317-20. Harpham, Geoffrey Galt. "Permeability and the Grotesque: 'The Masque of the Red Death.'" On the Grotesque: Strategies of Contradiction in Art and Literature.
Hume, Beverly A. "Gilman's Interminable Grotesque: The Narrator of 'The Yellow Wallpaper.'" Studies in Short Fiction 28 (1991): 477-83. Johnson, Gregg. "Gilman's Gothic Allegory: Rape and Re-demption in 'The Yellow Wallpaper.'"
424-36. Hume, Beverly A. "Gilman's Interminable Grotesque': The Narrator of 'The Yellow Wallpaper.'" Studies in Short Fiction 28.4 (1991):477-84. Johnson, Greg.