Criticism By Matthew Arnold Summary

The book opens to a grim scene of a crowded field, filled with angry and shocked people, surrounding the gallows and looking at the road ahead as a band marched in playing a funeral march. Behind the band marched the broken and defeated Benedict Arnold, former general of the rebel army and traitor to the new country of The United States, in prison rags and shackles. The somber scene concludes with Arnold swallowing his saliva and marching onward towards his sure death. The story of Benedict Arnold begins 39 years earlier in the port town of Norwich, Connecticut. Benedict Arnold was born to a wealthy family in Norwich in one of the coldest winter months ever recorded. He was named after his dead brother of the same name and was some what of a rebel in his younger days. His parents sent him off to a respected boarding school where his real troubles began. In August of 1753 he received a letter from his mother, Hannah. It told of an awful outbreak of yellow fever in Norwich that is soon to claim the lives of his younger sisters Mary and Hannah. Two weeks later he received a follow up, in which his mother stated that Hannah was out of danger but his 8 year old sister, Mary, was dead. Soon after, Benedict's youngest sister, Elizabeth, died of yellow fever. As his pranks and tricks at school became increasingly violent, Benedict's father's shipping business was dying and his drinking problem got worse. Benedict

The context of the plot found in “The School” presents the readers with the timeless question of the meaning of life. However, this question does not seem to present itself immediately to the reader. In order to appreciate Barthelme’s work in this piece, it is crucial that one utilizes the New Criticism’s approach to reading. New Criticism was first developed in the 20th century and it makes reading and interpreting literature a systematic activity. New Criticism as an analytical tool helps the readers to understand and gain insight into all forms of the written works through sheer understanding and by reading closely. This means that our focus

Murder can sometimes be the answer. In Michael Bruce’s ‘Gentlemen, Your Verdict’, Lieutenant-Commander Oram was faced with the decision to save five members of his crew by murdering 15, or allow all of his crew to die. Oram made the right decision to a great extent, as there was not a way out of his situation that did not result in the death of his crew, he did not inform the 14 crew members that were to die, that they were being killed, and he spared all but one of his married crew members.

1. Arnold Friend 's name can be interpreted as being "a friend." Also, by removing the r 's, his name becomes "an old fiend," which can be interpreted as a reference to a demon or even Satan. What other clues are there that Arnold is not who he claims to be?

The Holocaust can be seen as one of the most devastating genocide that occurred in history and that is well known in many places worldwide. One may assume that those who played a part in the acts done by the Nazis in Germany may have been mentally disturbed and/or sick, evil people. However, the novel Ordinary Men: Reserve Police Battalion 101 and the Final Solution in Poland by Christopher R. Browning provides another alternative to this statement. Browning provides the reader with the idea that anyone is capable of becoming a murderer, especially when the opportunity presents itself. In his book he attempts to prove this statement through multiple ideas and theories and also provides events which took place to analyze some of those ideas.

There are many notorious characters in literature, all with their own menacing qualities and depraved actions. None, however, have struck such a devastatingly creepy chord as Arnold Friend of Joyce Carol Oates "Where Are You Going, Where Have You Been?" Seducer of young girls and embodiment of Lucifer, Arnold Friend is anything but a friend. Arnold Friend is presented through both actions and appearances, and these combine to diminish his likeability, while adding to his devilish persona. Although Arnold Friend's traits are never stated outright, they are presented through his speech and interaction with other characters, which ultimately creates a more impacting effect and lasting impression.

Northrop Frye (1912-1991) read his Massey Lectures over the Canadian Broadcasting Corporation (CBC radio) in 1962. First published by Indiana University Press in 1964, the six lectures present key concepts from Frye’s Anatomy of Criticism: Four Essays (Princeton University Press, 1957).

While doing some research on psychological criticism, I found that Arnold Friend in Where Are You Going, Where Have You Been by Joyce Carol Oates and notorious murderer Charles Schmid of The Pied Piper of Tucson by Don Moser have characteristics of being a psychopath, motive for killing, similar comparisons of innocence taken by an evil mind, and how Oates wrote her story based upon Schmid’s personality. Psychological criticism as explained in Retellings by M.B. Clarke and A.G. Clarke states “psychological criticism looks at internal influences on an author’s creation and our reception of it…whether the words and images can be read symbolically” (Clarke A-46). Throughout the paper, I will be addressing the psychological criticism of the schools of literary criticism from Retellings. I will be introducing a fictional character and a non-fictional character, a long with their characteristics, comparisons between Oates character with Moser’s, and ideology based upon the non-fictional character.

This literary criticism is useful because it illustrates how the arts are connected, in this case, writing and painting. The arts are fluid and can translate between different mediums. The story is considered modern, but the painting is a classic. The character of Sammy is also meant to be relatable, even to future generations. The essay is well researched and soundly written; it is a good example of what a published literary criticism should look like.

The research method I have demonstrated in this paper is called Pentadic Criticism derived from Kenneth Burke whom made

In the literary `movements' of neo-classicism and romanticism, Voltaire's Candide and Goethe's The Sorrows of Young Werther represent the literary age in which they were written. In the following composition, textual evidence will be provided to demonstrate how each book accurately represents either the neo-classicism age or the romanticism age. Candide and The Sorrows of Young Werther will be examined separately, and then examined together. After, a discussion about how each age seems to view the nature of man and the significance of moral and spiritual values will be presented. Also, a personal interpretation of the conclusion of each book will be given. Lastly, quotes

Therefore, when someone engaged in narrative criticism approach, he needs to pay attention the text only. Text is mirror here, not window as historical criticism usually does. Again, it opens the readers up to new insights in the text that we may not have seen before, or that we may have unnoticed.

To this effect, I shall explore this text’s connections to Nietzsche's key intellectual influences. First, I shall address the impact of the Schopenhauerian view of the world on The Birth of Tragedy, in particular as regards the opposition between Apollo and Dionysus and the nature and goal of tragic art. Subsequently, I shall refer to the influence of Richard Wagner's thought in order to explore the relationship between metaphysics and art as humanity's "true metaphysical

Any literary work is unique. It is created by the author in accordance with his vision and is permeated with his idea of the world. The reader’s interpretation is also highly individual and depends to a great extent on his knowledge and personal experience. That’s why one cannot lay down a fixed “model” for a piece of critical appreciation. Nevertheless, one can give information and suggestions that may prove helpful.

The word New Criticism was appearing on the book, "The New Criticism", written by John Crowe Ransom. In his book, "The New Criticism", Ransom came up with a new formalist current, which emphasized close reading, particularly of poetry, to discover how a work of literature functioned as a self-contained, self-referential aesthetic object. It soon became a dominated theory in the middle of 20th century in Anglo-America.( Tyson, 135)