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    The Vengeful Montressor of The Cask of Amontillado The story "The Cask of Amontillado" by Edgar Allan Poe is a story of murder and revenge. What is disturbing about this story is the lengths to which Montressor goes to gain this revenge. The statement "At length I would be avenged, this was a point definitely settled - but the very definitiveness with which it was resolved precluded the idea of risk" (1314) tells much about the character Montressor. In this essay, I intend to show that this

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    The Vengeful and the Virtuous in Shakespeare Whether you hate your King, your Christian rival or a neighboring foe, if you're in a Shakespeare play then you will be punished.  In the first act of each play Shakespeare shows a conflict between two groups of people, one is vengeful the other virtuous.  After the conflict is introduced, the malignant characters have important parts of their lives taken away and in the end the ultimate penalties of each are inflicted.  All of the antagonists are

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    begins with Montressor’s vow of revenge. This is proven in the first sentence when Montressor says, “The thousand injuries of Fortunato I had borne best I could; but when he ventured upon insult, I vowed revenge.” Montressor is a manipulative and vengeful person. These characteristics lead to the death of Fortunato. Through the words, acts, and thoughts of Montressor, one is able to see him carry out his plan for revenge. Montressor had to be sure not to raise suspicion of what he was going to

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    very accurate, and she uses her knowledge to emphasise the moods and attitudes of the characters. The people of these two houses differ from each other. The people from the Wuthering heights such as Heath cliff are generally angry, ill tempered, vengeful, and often immoral. These attitudes are clearly reflected through the large, cold and dark house, situated on top of a ruthless hill on the moors. Thrush cross Grange is a more cultivated, calm house, situated in a valley of the moors. Its inhabitants

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    Christianity in Shakespeare's Tempest

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    power to create. The power of the gods is mainly "white magic", a magic which attempts to bring about a good end. The creations later  become a facet for manipulation for the creators' magic. The repressed creations rebel, causing the gods to become vengeful.  After remorse caused from the rage, the gods sit back and give subjects control of their lives.  This pattern is followed by both Prospero and the Christian god. Prospero is a god.  He mirrors the "Bible's personification of a  God who commands

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    In lines 51-60 of “Stings,” imagery, allusion, and antithesis are employed by the author, Sylvia Plath, to develop her attitude towards men. In this section of “Stings,” Plath uses the “queen bee” as a symbol of herself -- a fiery, angry, vengeful daughter who rises up in spite of the man (her husband Ted) described in lines 38-50. Because much of Plath’s work is confessional poetry, it can be analyzed not only by her use of poetic devices but by her personal history as well. This poem was written

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    the aristocratic (and bellicose) Stryver who realizes that marriage to Charles Darnay would bring the greatest happiness to Lucie. Their bliss is short lived however,as the honor bound Darnay returns to Paris. His prosecution is propelled by a vengeful and newly empowered Madame Defarge a "patriot of the revolution" who utilizes the revolutionary "People's Tribunals" to redress grievances committed by the Evremonde clan. Aided by her cohort (aptly given the code name of "Vengeance") retribution

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    movies. Unfortunately, a vast quantity of the motion picture created does not follow the theme of the original story. They branched out from it and portrayed the creation as an inarticulate, rampaging monster when initially he was a confused and vengeful genius. What ever the form "Frankenstein has taken root in our society and its here to stay. Second, the authors use of setting and weather helps to realize why the creation has preformed the horrid actions he has. For example, when Victor Frankenstein

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    Alternate Endings in Anouilh's Medea

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    free will, Medea in Anouilh's play is acutely, agonizingly aware of the dark identity at her core. Jason's betrayal awakens this knowledge in her. She feels joy at the freedom of rebirth and self discovery, but she is also all too familiar with the vengeful heart full of venom which has been unleashed. The audience does not need to look to the heavens, hoping for a glimpse into Medea's heart and mind. The modern Medea effectively articulates her inne... ... middle of paper ... ...tely unconcerned

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    his cave, is awakened by a slave who steals the cup from his hoard. The dragon, being greedy, is infuriated: "the hoard-guard waited restless until evening came; then the barrow keeper was in rage: he would requite that precious drinking cup with vengeful fire."(Norton, 56) The treasure, that is now guarded by the worm, once (over three hundred years ago) belonged to a tribe of great warriors. Many have died over the years on the battlefields; only one, the Last Survivor, has escaped the terrible

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