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In 1845, events in the British Isles included the invention of the rubber band, the manufacture of self-raising flour, and the infamous Jack the Ripper took his first victim. None of these made the slightest ripple in Holmeside, where day to day life did not change enough to be worth talking about, except for the passing of old faces and the birth of new ones. Otherwise, life went on as predictably as it had since the Luddite uprising, although there were few old enough to remember much about it. Mill workers in Holmeside died early, as did all factory workers. Sarah Gledhill was an exception. She outlived most of her contemporaries.
There was some change in that place, but it had happened at such a slow pace as to be imperceptible. Sarah’s home, White Cottage at the moor’s edge above the village, was no longer white. Like other buildings in that setting it was caked with soot from the forest of smoky chimneys, augmented by Outcote Mill’s giant smokestack. No amount of rainfall could wash the buildings clean. When Sarah was offered the tenancy of White Cottage it had stood its watch for more than three hundred years. Most of that time it had been a lodging for shepherds. When shepherding dwindled, White Cottage was just one more building owned by Outcote Mill and had all the inconveniences common to old places. Sarah Gledhill jumped at the chance to live there when she retired. She paid a peppercorn rent, a kindly gesture to an old woman that had been the mill’s servant for more than half a century and whose reputation for honesty, thrift, and hard work was widely known. She took the cottage because of the views from its windows, both of which were at the front of the house, one either side of the door. Looking to her left she co...
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...your punishments too harsh.
God bless you all. Sarah Ludd.”
Smiling, she put the letter back in its place and ate her supper with thanksgiving. Picking up the pencil, she broke its lead point off on the table vowing never to write with it again. “I shall write no more. I have nothing more to say, and I am so very tired.” She drew the curtain across the windows and went towards her bed in the corner. Before reaching it she turned back to the table and took the letter from the Bible. Then she went to her bed in the back corner of the living room clutching the letter against her heart. She blew out the candle and lay in the dark rustling the letter between her fingers, murmuring, “Seth. Oh, Seth, my Seth, I am, so tired.” She pulled the covers up under her chin to keep the cold away. She fell asleep. Sometime during that long and silent night, her soul took flight.
Lajoe moved to Horner when she was a young girl with her family of thirteen. The family had been living in a flat above a church that lacked adequate heating and frequently rang of organ music from the church below. Hearing of the newly finshed public housing projects for financially disadvantaged families, LaJoe's parents packed up the family and moved to one of the new buildings. When the family first arrived in their new home, they could not believe their eyes. It looked like a palace. Outside there were yellow flowers and lamp posts. The exterior of the building was made of sturdy, dark-red brick. Inside, the walls were a pristine white, with shiney linoleum floors. A new range and refrigerator awaited in the kitchen. It seemed like a dream to them -- until it all came crashing down.
As he slouches in bed, a description of the bare trees and an old woman gathering coal are given to convey to the reader an idea of the times and the author's situation. "All groves are bare," and "unmarried women (are) sorting slate from arthracite." This image operates to tell the reader that it is a time of poverty, or a "yellow-bearded winter of depression." No one in the town has much to live for during this time. "Cold trees" along with deadness, through the image of "graves," help illustrate the author's impression of winter. Wright seems to be hibernating from this hard time of winter, "dreaming of green butterflies searching for diamonds in coal seams." This conveys a more colorful and happy image showing what he wishes was happening; however he knows that diamonds are not in coal seams and is brought back to the reality of winter. He talks of "hills of fresh graves" while dreaming, relating back to the reality of what is "beyond the streaked trees of (his) window," a dreary, povern-strucken, and cold winter.
The book is again set around the house of Dies Eddington Drear, in a current year. The surrounding property and underground tunnels on premises play major roles in defining the plot and motive for the characters bizarre actions.
I resided deep within a wooded glen in this modest chalet. It served one denizen and perhaps a visitor. The floral wallpaper was faded, torn and warped. The dusty floor was constructed of uneven planks that whined and bent when pressure was applied. The furniture was minimal and simple. There was a twin mattress raised upon a metal structure and a long wooden table with a single chair. At one end, the table was blotched with red stains and scratches along the edges. The kitchen held a small stove and a cracked wooden counter was a large worn dinner plate and fine cutlery.
The Story begins with a description of the house. The house in itself is a symbol of isolation women faced in the nineteenth-century. The protagonist describes the house as isolated and miles away from the village, but also described as “the most beautiful place” (Gilman 217). During the nineteenth-century, women were in a sense isolated from society, just like the house. The role of the women was to stay home and tend to the
Catharine Sedgwick’s novel, A New-England Tale, tells the story of an orphan, Jane Elton, who “fights to preserve her honesty and her dignity in a household where religion is much talked about but little practiced” (Back Cover). The story take place in the 1820s, a time when many children were suffering in silence due to the fact that there was really no way to get people to understand exactly how bad things were for them. The only way anyone could ever really get a true understanding of the lives of the children in these households would be by knowing what took place in their homes. Outside of the home these women seemed perfectly normal and there was not reason to suspect any crookedness. The author herself was raised by a woman of Calvinist religion and realized how unjust things were for her and how her upbringing had ultimately play at role on her outcome. Sedgwick uses her novel, A New-England Tale to express to her readers how dreadful life was being raised by women of Calvinist religion and it’s affect by depicting their customary domestic life. She takes her readers on an in deep journey through what a typical household in the 1820s would be like providing them with vivid descriptions and reenactments of the domestic life during this period.
When assigned the England project, I wanted to research something having to do with my heritage. My ancestors originate from England. Correspondingly, I chose Whittington Castle. According to an old English legend, one of my family ancestors, Dick Whittington, set out from the castle for London, in search of his fortune. After residing in London for a time, Dick Whittington went on to be "thrice Lord Mayor of London". That piece of history supposedly occurred in 1368, but the first construction of Whittington Castle was in 845 and modeled after the Norman Motte and Bailey castles of the time.
Another sense of the attempt to retain a moralistic self-identity and persevere through the obstacles present was the reaction had by the tenant farmers when forced to move off their land. Standing in conflict with "the cat,"--the destr...
The story of “Life in the Iron Mills” enters around Hugh Wolfe, a mill hand whose difference from his faceless, machine-like colleagues is established even before Hugh himself makes an appearance. The main narrative begins, not with Hugh, but with his cousin Deborah; the third-person point of view allows the reader to see Deborah in an apparently objective light as she stumbles tiredly home from work in the cotton mills at eleven at night. The description of this woman reveals that she does not drink as her fellow cotton pickers do, and conjectures that “perhaps the weak, flaccid wretch had some stimulant in her pale life to keep her up, some love or hope, it might be, or urgent need” (5). Deborah is described as “flaccid,” a word that connotes both limpness and impotence, suggesting that she is not only worn out, but also powerless to change her situation; meanwhile, her life is “pale” and without the vivid moments we all desire. Yet even this “wretch” has something to sti...
In North and South, Elizabeth Gaskell examines the Hale family as they moved from Helstone to Milton. The family moved because Mr. Hale felt like he could no longer faithfully fulfill his position in the village, so the family went to the city for a change and to start over. (Gaskell...
At last I arrived, unmolested except for the rain, at the hefty decaying doors of the church. I pushed the door and it obediently opened, then I slid inside closing it surreptitiously behind me. No point in alerting others to my presence. As I turned my shoulder, my gaze was held by the magnificence of the architecture. It never fails to move me. My eyes begin by looking at the ceiling, and then they roam from side to side and finally along the walls drinking in the beauty of the stained glass windows which glowed in the candle light, finally coming to rest on the altar. I slipped into the nearest pew with the intention of saying a few prayers when I noticed him. His eyes were fixated upon me. I stared at the floor, but it was too late, because I was already aware that he wasn’t one of the priests, his clothes were all wrong and his face! It seemed lifeless. I felt so heavy. My eyes didn’t want to obey me. Neither did my legs. Too late I realised the danger! Mesmerised, I fell asleep.
At the top of Sycamore Hill, where the once neatly trimmed grass had become wild foliage, was an old house. Old houses are often perceived as if not retaining the spirits of its previous tenants they are at least thought to have retained their owner’s history. This house was no exception.
This novel is set in the open moors of England, where Bronte grew up. Nelly Dean, the narrator, describes the setting when she and young Cathy go for a walk, ""Climb to that hillock, pass that bank, and by the time you reach the other side, I shall have raised the birds." But there were so many hillocks and banks to climb and pass, that, at length, I began to be weary...she dived into a hollow; and before I came in sight of her again, she was two miles nearer Wuthering Heights than her own home" (WH 163). Nelly Dean is a young middle-aged woman who is accustomed to physical labor, and her description of the moors help the reader realize the vastness of the scenery.
In this essay ‘poor’ shall be split into two separate definitions: vagrant and settled poor. Where vagrant poor are those who wander from parish to parish searching for work and settled poor are those who have a house. These two groups are quite distinct, as the settled poor vastly out numbers the vagrant poor and there lives were very different. As the settlement act and other acts, which shall be discussed, treated them differently, with the vagrant poor being shunned by society. This essay shall be finding out whether the lives of the poor changed for the best or simply stayed the same. The lives of the settled poor shall be examined in the first half of the essay and the vagrant poor in the later.
The setting is realistic and presents a vivid picture of the 19th century New England farmhouse. The story takes place in three days and is structured according to seasons (summer, autumn, spring) over a period of three years. Of unity of action, time and place, only the action is patterned after Greek tragedy.