Essay On The Manor

The world today consists of children roaming the streets, technology taking over the world, and being able to work wherever you'd like but, could you imagine a life without all these things? Believe it or not there was a time in life where these things were very uncommon to see. This would be known as the victorian era. This time period was between 1837 and 1901. Daily life was very different from now. Health, social classes, and fashion are just three examples of how daily life was different in the victorian era.

As she reached the bottom, the flame from her candle illuminated the stinking cellar. At first, she could not make out anything, but as her eyes became accustomed to the dark, she found four bodies, all wrapped up in cloth except the feet. Those feet were enough to put almost anyone off, but as Elizabeth could not see them properly, she ignored them, and with what was either immense

A person begins to read, their body submerged in goose bumps. The description of the setting makes them fear for the protagonist. Their head fills with the anticipation of what what might happen next. They start to wonder if the protagonist is going to live. Their eyes read the page as fast as they can but then the page stops, leaving them with a head filled with fears. This is an example of how a horror story should compel the reader. A compelling horror story needs to have a scary setting, lots of suspense, and a horrifying monster. One story that has the key components is "The Landlady" by Roald Dahl.

The narrator describes the abbey in which he is hiding in from the plague. "There was no light of any kind emanating from lamp or candle within the suite of chambers. But in the corridors that followed the suite, there stood, opposite to each window, a heavy tripod, bearing a brazier of fire, that projected its rays through the tinted glass and so glaringly illumined the room." The details of the room create an effect upon the reader letting him visualize the areas surrounding the

The Landlady by Roald Dahl unveils a valuable theme through mysterious and disturbing occurrences. The integrity and truthfulness of a person are difficult to uncover. They hide behind fake identities, masks which alter the beliefs of others. Despite the difficulty to realize one's’ authentic self, it is important to be alert and to notice clues in order to depict their personality or to predict situations. This is proven by the first encounter between the main character and the Landlady, the Landlady's behaviour and the evidence within the bed and breakfast guestbook. Therefore, the theme of The Landlady is to not be too trusting or unwary and to be perceptive.

The room was musty and dimly lit. A heavy curtain was drawn across the only window, allowing only a slight and pathetic slant of balmy sunlight to slip in. Faintly, the air tasted of dog urine and stray fur—a fusty undertone hovering beneath ghostly.

Memories of the night before became a vivid memory in the recesses of his dimly lit mind, underneath the sunlight's intruding yet blissful gaze and the sensation of silk against his bare skin felt like a euphoria, a river of midnight encased his slender figure and with the scrunch of his refined nose and furrowed knit of his thin eyebrows, he rose from his slumber. Delicate fingertips leisurely danced across the silken sheets which lost its assuaging warmth only to discern that he was gone, Padding through the spacious house far too big for two alone to fill, and too much of a burden for one to find comfort in. To see his lover, clad in a suit that managed to take his breath away immediately

He waited until the night’s 11th hour. By now the Princess rested in the highest tower of the castle, locked away from the dangerous world, yet so oblivious to the dangers that which fated the rest of her life. Silently the peasant journeyed outside, where he stopped at the wall of the tower where she lay. He watched her in the darkness from below, lifting his face to her, letting the light rest on his every surface of darkness. The night was cloudless. The winds wailed between the motionless oak trees as its thin branches clawed out, ever so slightly disturbing the leaves with its hostile screeches. Not the thick moss of the trees nor the damp leaves squirming in his toes could distract the peasant from so enticing a scent. All that encircled him was the sweetness of lavender and rosewood, filling his entire being as he sunk into the grass, like sand washed over by the water, with every breeze passing

Chapter 1 A young woman appears out of nowhere and quickly catches up to another who's dashing along a moonlit lane. "Are we late?" She asks as she falls into step besides the older woman. "No not yet, but we need to hurry, we don't have much time." "Follow me," the older woman replies, and her dark cloak billows about casting shadows on the high stone walls that border the lane. They walked side by side in silence for a long ways and then through a set of huge iron gates swung opened before them and onto a narrow driveway. A manor house grew out of the darkness at the end of the straight drive, lights glinting in the windows. Gravel crackled beneath their feet as speeding toward the front door, which swung inward at their approach, though

The narrator comes to the House to aid his dying friend, Roderick Usher. As he arrives at the House he comes upon an “aura of vacancy and decay… creating a pathologically depressive mood” (Cook). The state of the House is daunting to the narrator – he describes it with such features as “bleak walls”, “eye-like windows”, “rank sedges”, “decayed trees”, and “an utter depression of the soul”. These images foreshadow a less than pleasant future for the narrator and his dear friend Roderick. Poe continues to foreshadow the narrators turn of events with a description of the House’s “dark” and “comfortless” furniture. The House becomes a living hell for the narrator as he watches Roderick’s condition evolve and struggles to understand the mystery tying unfortunate events together. However, as the narrator gradually becomes more enveloped in Roderick and the House’s malady, he seems to develop a malady of his own. While the narrator’s illness is less prominent than that of Roderick and his sister Lady Madeline, the sicknesses are one in the same.

Due to the lack of social interaction between the two, literary expert Craig Howes believes the already mad Roderick now “draws the narrator into madness,” (Howes). Now that Roderick has become less sociable with the narrator and there is one less person in the house, the narrator lacks the social interactions required by most humans. He feels uneasy about the “corpse” they have entombed and begins to fear the initial dark and gloom of the house itself both inside and out.

The Tenant of Wildfell Hall contains one of the earliest examples of marital abuse written in the Victorian Era. It prominently displays women being abused, separated from society and their subsequent solitude. The author, Anne Brontë, did not shy away from certain ‘taboo’ topics, like alcohol abuse, domestic violence, and sexual assault and has been criticised for it, even by her own sister Charlotte. Domestic violence has been around for many years and yet it was, and still is, treated as a forbidden subject that should be handled quietly and without causing a commotion. Anne Brontë does not ignore these issues. She gives a clear look at how someone can change overtime and how the effects of alcohol are not to be taken lightly. The Tenant

Witchcraft seemed to be no stranger to this whole ordeal. I take a few deep breaths and continue to trudge back to the carriage. I hope that the Ruler and witch are back as I wish to have my belongings, but it is possible they are still traveling. I see that the carriage is indeed there, not moving from it spot. So I infer that they have arrived so it’s safe to get my things. I let out a sigh of relief and get my small bags out and head to the mansion where- at the steps- I see the others gathering and talking among themselves- Owen being an exception, only talking with Alice a few times. As I get closer I hear Alex mumble something along the line of ‘Manners’ and ‘Peasants’ I try to make out what else he said but he spoke too softly. “Talking about me?” I say as I walked up and brush my arm against his, a bright and stupid smile sprawled across my face. He looks at me, not wearing the same big smile I haven’t seen him missing so far. He didn’t seem to understand what I was talking about, but it soon dawned on him. “Oh sorry, I'm just not used to it. That's all.” He said with a sickening sweet tone as he then quickly turns around, muttering a few curses. I giggle at this and make my way over to Owen.

William Faulkner’s A Rose for Emily also displays the same fold-in-on-itself mystery that We Have Always Lived in the Castle calls forth. In both stories, past time is brought to the reader’s attention, both through flashbacks, as found in We Have Always Lived in the Castle and through a narrative present reporter that gives information on a past story-arc, where he or she is well aware of the ending, i.e. the present. The two stories also both hold an element of mystery for crimes that are only implied, but never actually expressly stated by the person committing them. For much of We Have Always Lived in the Castle, the reader does not know that it is Merricat who poisoned the sugar bowl. It is not until the house has already been halfway

great prosperity in Great Britain's literature. The Victorian Age produced a variety of changes. Political and social reform produced a variety of reading among all classes. The lower-class became more self-conscious, the middle class more powerful and the rich became more vulnerable. The novels of Charles Dickens, the poems of Alfred,