Hogarth's Room Always Is So Dismal?

“I tried not to sound concerned but was feeling an unpleasant sensation of being isolated, far from any human dwelling and trapped in this cold tomb of a railway carriage.”

The novel, The Hot Zone, by Richard Preston is a nonfiction book based on Ebola. The author uses many ways to keep the readers to make the novel suspenseful. Preston stares the stories from the first people known to have the virus to go more into detail. He utilizes literary techniques such as imagery, foreshadowing, and personification.

He struggled to find comfort for his back, and couldn’t help wincing. He heaved a sigh of agony and placed his head on the pillow, lied on his back, rather uncomfortably, closed his beady eyes and speechlessly waited for that moment to arrive. Heavy footsteps ware approaching. Their shoes clap rhythmically on the floor.

For example, in “The Scarlet Ibis”, Hurst writes “He seemed all head, with a tiny body which was red and shriveled like an old man’s.” (1)

Spaulding begins her essay with a detailed personal testimony that describes the deep emotional connection she feels for darkness. In part of the second paragraph she states, “the sky and shore and water were all one inky darkness though stars sparkled on the watery surface,” (83). This description of the

“The road to Manderley lay ahead. There was no moon. The sky above our heads was inky black. But the sky on the horizon was not dark at all. It was shot with crimson, like a splash of blood. And the ashes blew towards us with the salt wind from the sea.”

With the measured step and calm collected air of an asylum-physician approaching in the public hall some patient beginning to show indications of a coming paroxysm, Claggart deliberately advanced within short range of Billy, and mesmerically looking him in the eye, briefly recapitulated the accusation. Not at first did Billy take it in. When he did, the rose-tan of his cheek looked struck as by white leprosy. He stood like one impaled and gagged. Meanwhile the accuser's eyes removing not as yet from the blue dilated ones, underwent a phenomenal change, their wonted rich violet color blurring into a muddy purple. Those lights of human intelligence losing human expression, gelidly protruding like the alien eyes of certain uncatalogued creatures of the deep. The first mesmeric glance was one of serpent fascination; the last was as the hungry lurch of the torpedo-fish (70-71).

Throughout the play there is a continual reference to light. It is used in the form of bright sunlight,

With a half unconscious turn and not without a slight shame he scurried under the couch, where, in spite of the fact that his back was a little cramped and he could no longer lift up his head, he felt very comfortable and was sorry only that his body was too wide to fit completely under it” (Part II Paragraph 5)

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.

“The parlor was dead and Mildred kept peering in at it with a blank expression as Montag paced the floor and came back and squatted down and read a page as many as ten times, aloud.” Only reason she was paying him attention was because the parlor walls were dead. “I’m not angry,” Montag said, surprised- Mildred shrieked with laughter in the hall.”

wanting to comfort him while adding to the setting “in a little room, scarcely larger than

The artwork of William Hogarth is influenced greatly by social factors and the culture of eighteenth century England. In many of his works, Hogarth satirizes English society, rich and poor alike. His paintings and engravings depict the society of which he lived, with the costumes and ways of life of the times all shown in his work. Much of the time he is being satirical, exaggerating some of the faults of the people, other times he is being bitingly realistic in his views. It seems no-one is safe from his caricatures, from the lords and ladies, to slaves, servants, prostitutes, criminals and the poor.

In the top story of one the buildings fortunate to still be standing, is a man who has hung himself from the rafters. Willaim Hogarth used all these startling scenes to grab the attention of the viewer and give them an insight on London at its lowest. Through “Gin Lane,” Hogarth expressed the ravenous effects gin had on the people of London and how it affected the living environment as well.

It is vital to look at both apprentices’ backgrounds by analyzing the many hidden messages and themes that Hogarth inserted into each plate. By doing this, the reader can get a renewed sense of contemporary society during this time frame. Aside from this, it can also help to understand the ethics of the eighteenth century and the aspects of life. This plate series is based on a “moral code” in which Hogarth gives specific notions of morality directed towards