The Themes from “Blessings” and “The Count of Monte Cristo” In the passage from “The Count of Monte Cristo” it’s about a man named Edmond who was a prisoner at a jail. While he was lying down on his bed he was experiencing strange hollow sounds through the wall he was lying against. He thought that it was Heaven warning him about why he’s in prison and that he made many mistakes through his lifetime and that’s why he got into jail in the first place. Edmond was terrified, but then he noticed the jailer walking by who could help him with what he was experiencing. Thankfully the jailer did help and the whole problem was solved knowing that what was in the wall was a prisoner trying to escape, but didn’t happen to get out. In the section of
In the story “The Count of Monte Cristo”, there is also a meaning full theme to the story too. The story talks about a man named Edmond who hears noises in his jail cell, then wonders who is making the noise, why they are making
His outside actions of touching the wall and looking at all the names are causing him to react internally. He is remembering the past and is attempting to suppress the emotions that are rising within him. The first two lines of the poem set the mood of fear and gloom which is constant throughout the remainder of the poem. The word choice of "black" to describe the speaker's face can convey several messages (502). The most obvious meaning ... ...
Under the orders of her husband, the narrator is moved to a house far from society in the country, where she is locked into an upstairs room. This environment serves not as an inspiration for mental health, but as an element of repression. The locked door and barred windows serve to physically restrain her: “the windows are barred for little children, and there are rings and things in the walls.” The narrator is affected not only by the physical restraints but also by being exposed to the room’s yellow wallpaper which is dreadful and fosters only negative creativity. “It is dull enough to confuse the eye in following, pronounced enough to constantly irritate and provoke study, and when you follow the lame uncertain curves for a little distance they suddenly commit suicide – plunge off at outrageous angles, destroy themselves in unheard of contradictions.”
Through paradoxical silences, some artists convey their anguish over heaven's unresponsiveness in the face of evil. But in religion silence often conveys God's presence and sorrow. -Mark L. Staker
“He had not expected anything like this; he had not thought that this world would be so utterly different from his own that it would intimidate him. On the smooth walls were several paintings whose nature he tried to make out, but failed. He would have liked to examine them, but he dared not. Then he listened; a faint sound of piano music floated to him from somewhere. He was sitting in a white world; dim lights burned around him; strange objects challenged him, and he was feeling very angry and uncomfortable.” (Wright 46).
Later, when the boy is looking out the window of the top story of his house, he looks down and sees his friends playing in the street, and their cries reach him "weakened and indistinct." This image brings about an impression that the boy now feels "removed" from his friends and their games, because he is caught up in his fantasy. Normally, he would probably be down there playing with them, but now his head is filled with much more pressing thoughts, and they drown out the laughter and fun of his friends and their "childish" games.
...freedom. Only then does he feel a sort of closeness when Robert’s hand is on top of his. As he continues to draw this cathedral with his eyes unopened, he becomes more and more inspired, using his imagination, leaving his old narrow-minded state behind. “My eyes were still closed. I was in my house. I knew that. But I didn’t feel like I was inside anything.” Through this experience he is able to be outside of his old self—the attitude that had held him back. Robert asks if his eyes are open. They are, but it doesn’t feel like it anymore. He takes a look at the world around him with his new-found sight and says, “It’s really something.” The reader cannot be sure the narrator’s attitude will continue to remain over time, but it would be hard for him to go back to what he once was. Never in his life, I imagine, had he dreamed he would learn how to see from a blind man.
Certain nights you’d feel a certain surrender, maybe if you’d had wine. The surrender would be forgetting yourself and you'd put your nose to his neck and feel like a squirrel, safe, at rest, in a restful dream. But then you'd make out the dim shape of the windows and feel yourself become a cave. Filled absolutely with air, or with a sadness that wouldn't stop. (Minot, 220)
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.
The "Allegory" depicts a number of people who are imprisoned in a cave, chained by the legs and neck so that they cannot move, nor can they turn their heads; they see only towards the back wall opposite the cave opening. These people have been chained in this manner their entire lives. Sometimes objects and people pass in front of the cave opening, and shadows play upon the back wall. Since the people have only seen the shadows, they assume that the shadows are the real objects and beings of the world. They watch the shadows, measuring them, trying to understand them, and soon honors are bestowed upon those persons who can see the...
When Robert asked if the narrator was religious, he confirmed that he was not “I guess I don’t believe in it. In anything. Sometimes it’s hard. You know what I am saying?” (Carver, XXX) It is then that Robert asked the narrator if he could draw a cathedral for him. With the guidance of Roberts hand and encouragement “terrific, you’re doing fine”, he begins. It starts off as a simple box, but the more the narrator draws, the more it begins to look like his own house. The reader can start to sense there is a change beginning to take place “Never thought anything like this could happen in your lifetime, did you bub? Well, it’s a strange life, we all know that. Go on now. Keep it up” (Carver, XXX). He was so overcome with emotion, that when he wife awoke and asked what was going on, he was not able to answer her. He continued to draw, with the encouragement of Robert. At the end of the drawing he was truly amazed at what he drew. When Robert asked him if he seen what he drew, he said “It’s really something”. (Carver, XXX) For the first time, the narrator was able to see with his eyes still closed, what he had in live, as if he had a coming to Christ moment, with him sitting in his cathedral, which was used to be closer to God. It was a freeing moment “But I didn’t feel like I was inside anything”. (Carver,
secondly, "the spirit of perverseness" as described by the narrator is basically an acute explaination of whats was going on in his head.
...rs, leaving the narrator and Rob to smoke a joint and watch television. The narrator tells Robert what’s going on in the show and asks him if he knows what a cathedral is, since the show is all about cathedrals. Although the narrator isn’t religious, he draws a cathedral for Robert, allowing his hand to be over his. This would allow him to understand what a cathedral looks like. However, when the wife wakes up and asks what they’re doing, she’s confused when the narrator says they’re drawing a cathedral. Robert asks the narrator to open his eyes, and he never does, claiming he feels weightless, suggesting to himself that he’s reached an epiphany. The narrator’s drawing allows him to see beyond “visibility.” He doesn’t understand exactly what he felt, but he knows it was a meaningful experience. Robert demonstrated that seeing involves a lot more than just looking.
The Spiritual and Moral Journeys in The Quest of the Holy Grail. The Quest of the Holy Grail is an exciting tale that follows the adventures of King Arthur's knights as they scour the countryside for the legendary Holy Grail. Throughout their journeys, the knights engage in many exciting jousts and sword fights with a variety of enemies. The author of The Quest of the Holy Grail intends for the story to be more than just entertainment: the knights' search for the Holy Grail is analogous to the pursuit of morality and spiritual chivalry, showing success through asceticism, confession, chastity, and faith.
What is fear? Is it being in a prison so dark a person can not see in front of them? In this complete darkness the narrator finds himself eating and drinking, then passing out on a cold floor. When he wakes he is somewhere else in the dark cell. Or is it a cell? Could it be a tomb? Just when he thinks the cell is so big he finds himself almost falling into a pit. He eats and sleeps again. Where or how will he wake? Does he wake from his drugged food? In this story “The Pit and the Pendulum,” by Edgar Allan Poe, he tells the terrifying struggle of a man dealing with fear, torture, and confinement.