Essay An Analysis of The Harlot's House

The dark night accentuated the illuminous streetlights, which dimly lit their surroundings, casting eerie shadows upon the gates of the suburban properties. This is an example of setting, which is used to explain the area that the text will be taking place in. According to the example, the reader can assume the text takes place in a town, during night, when something not quite right is going on. Authors use setting in many ways that most readers may not be able to discern upon their first reading. Edgar Allen Poe in his text, The Fall of the House of Usher, and Joyce Carol Oates in her text Where is Here, use setting to paint a picture of their setting, set the atmosphere of the story, and how the setting influences the events of the story.

When Bleak House, by Charles Dickens, was published in 1853, it did not go unnoticed by critics. The reviews of the period where anything but tepid in tone or opinion in regard to Dickens’ newest novel. Most notably, the critics were concerned with the structure of the novel, characterization, and, in particular, Esther as a plausible character. By singling out reviewers from different publications of the time, it is possible to see what the public in 1853 was reading about Bleak House in regard to these issues.

That has no relish of salvation in ’t—/Then trip him, that his heels may kick at heaven,/And that his soul may be as damned and black/As hell, whereto it goes. My mother stays/This physic but prolongs thy sickly days"(III.iii.74-96).

Also he writes that the man is surrounded by the darkness of the theater, consumed by it, and with the white light ahead and on stage he is alone, and lonely in the darkness, playing the game. These are all references to how invisible and alone the man is.

The outlook on gender roles in today’s advanced society is in drastic contrast to the views portrayed in The Crucible, set in Salem, Massachusetts, in 1692. The Crucible, written by Arthur Miller, depicts women as weak creatures, who are expected to submit to men, and whose only access to power is through dishonest means.

During the 1650s in Salem, Massachusetts, there were many beliefs about women perpetuated by society. They were considered to be impulsive, selfish and subservient. Women were pressured into conforming to these social standards. This is shown numerous times in Arthur Miller’s play, the Crucible. However, despite these social pressures, there were a number of instances where women we shown to have more power than men. The action of female characters were influenced by the beliefs, stereotypes and expectations promoted in their society.

Muhammed Ali stated that “He who is not courageous enough to take risks in life will accomplish nothing in life.” It was gutsy of Rikki-Tikki to fight to fight the snakes Nag and Nagaina because they are one of the most deadly creatures in the Bungalow. There is a huge variety of similarities throughout the book and the movie such as the characters, setting and conflict.

While reading “Young Goodman Brown” by Nathaniel Hawthorne, I couldn’t help but feel a constant overwhelming sense of dread. The root of this could have come from the story’s dark setting deep within an “haunted forest” or from Brown’s mysterious “Devil”-esque companion. While I read, another story came into my mind; the story of the “Fall of the House of Usher” by Edgar Allan Poe. In Poe’s tale the same heart pounding emotion can be felt as he describes the reunion of two friends within “the House of Usher.” With the manors “eye-like windows” and “sorrowful impression,” Poe wastes no time in setting the Gothic mood. Through their distinct writing styles Hawthorne and Poe establish a common Gothic theme within their stories.

Each new morn / New widows howl, new orphans cry, new sorrows / Strike heaven on the face, that it resounds / As if it felt with Scotland and yelled out / Like syllable of dolor.” (IV.iii. 2-8)

The Crucible Character Abigail Williams is a very unique person, with a confusing relationship with John Proctor, she very much connects to 1992 "Skinny Toddlers" by the Filthy Moustaches. In the story the Crucible by Arthur Miller, John Hale a reverend from out of town who came to the small village of Salem to exorcise the demons from it's people in the song "The mint is in my Armpit" by Alien Lawnmower, it suggest change in nature and flaw in character, this basically describes what Hale is there to do in Salem. Jerry Doughnut has a way of understanding people, he has the courage to pull himself out of the worst situation with the best attitude; Reverend Hale from the Crucible could have used that wisdom of Jerry many times during his struggles

Every woman would want to be Lady Marguerite Blakeney, née St Just. Having recently made her debut at the Comedie Francois, Marguerite married Sir Percy Blakeney alias the Scarlet Pimpernel. Charming, clever, beautiful, with childlike eyes and a delicate face, Marguerite captures everyone’s attention. Yet Marguerite is portrayed as a stereotypical woman who is weak, impulsive, and whose identity revolves around her husband.

I read Anne of Green Gables by L.M. Montgomery. This book is about a young orphan child, with a never-ending imagination, named Anne. Anne has been taken in and out of orphanages all her life. Until, one day Matthew Cuthbert and his sister, Miss Marilla Cuthbert, are interested in having a young boy to live with them. They called the orphanage and told them to send the child on the train. He goes to the train station to pick the child up, but to his surprise he found Anne. Anne tells Matthew how she imagines living there would be like. She was so set on staying that Matthew just couldn't leave her at the train station. He takes her to his house, and while on the journey, Anne is enjoying every moment of the beautiful flowered valleys.

It not only threatens, but also breaks through. Betrayed by love once in her life, she nevertheless seeks it in the effort to fill the lonely void; thus, her promiscuity. But to adhere to her tradition and her sense of herself as a lady, she cannot face this sensual part of herself. She associates it with the animalism of Stanley's lovemaking and terms it “brutal desire”. She feels guilt and a sense of sin when she does surrender to it, and yet she does, out of intense loneliness. By viewing sensuality as brutal desire she is able to disassociate it from what she feels is her true self, but only at the price of an intense inner conflict. Since she cannot integrate these conflicting elements of desire and gentility, she tries to reject the one, desire, and live solely by the other. Desperately seeking a haven she looks increasingly to fantasy. Taking refuge in tinsel, fine clothes, and rhinestones, and the illusion that a beau is available whenever she wants him, she seeks tenderness and beauty in a world of her own making.

The Vengeful Miss Havisham - Great Expectations. In Great Expectations, by Charles Dickens, Miss Havisham is a complex character whose past remains a mystery. We know about her broken engagement, an event that changes her life forever. Miss Havisham desperately wants revenge, and Estella, her adopted daughter, is the perfect tool to carry out her motives.

Throughout the years, there have been many people have tried to come up with their own ideas for life that have failed. Some may have been closer to the truth than others. Many writers expressed these theories of theirs in their writings, creating a large amount of literature reflecting their anomalous opinions. The Dubliner Oscar Wilde portrayed his hedonistic struggles his writings. Hedonism tainted Wilde’s life and was thoroughly reflected in his writings. These hedonistic views are painted across his countless essays. Weighed with this bondage Wilde postponed a long needed conversion. Struggling with these difficulties right up to the end. Extravagance occupied Wilde’s stories in the form of hedonism. All of Oscar Wilde’s writings reflect his life in a personal way most largely in the aspect of Wilde’s hedonism also his torn conscience was greatly reflected in them too (Pearce 241; Ellmann 66).