I'M the King of the Castle

King uses an attacking tone in his next section. In this section, King hits the peak of emotion in his letter.

Throughout the novel, the reader is conflicted between hating and sympathizing with the killers because each section in the novel reveals another new attribute about the two partners in crime. From the beginning of the book, the readers know that these two men are killers and immediately are inclined to dislike them. The description of the perfect Clutter family and the quaint town of Holcomb only serves to extrapolate this hatred toward the killers. Then, a shift happens. Readers begin to commiserate with Perry. This shift begins with the description of the grave accident Perry was in and readers learn that he still has pain “as though his old accident had happened five minutes

King does an outstanding job in communicating the urgency of the situation without sounding personally impatient in his letter. His ability to create a sound argument without emotion makes his “Letter from a Birmingham Jail” all the more provocative.

Through simile and telegraphic sentences, King reinforces Jack’s focus on his career and reputation, and by extension characterizes him as wholly selfish and uninterested in the safety of his family. Jack is losing interest in doing what is best for his family and remains controlled by his anger. Immediately after expressing love for his wife, Jack’s “hands were still clenched into fists. They felt like rocks on the ends of his arms”(King 394). This simile offers a contrast to the family man Jack is supposed to be; he says he cares about his wife and son, but feels like they are weighing him down. His line of work, both writing and caretaking, require use of his hands- by comparing them to rocks, it is shown that Jack feels unable to truly do what he wants to because of his family. Jack is

This quote is additionally critical as it shows the extent he is will go to not be viewed as an illegitimate child and inconsequential. Which shows that Edmund fears the thought of conforming to his insignificant title and demonstrates his actual insatiable, remorseless and manipulative

Edmund considers himself an intrusion within Gloucester’s family, with no true placement, as his father continuously refers to him as a bastard, confirming his inability to inherit what Edgar can. Edmund decides, “Let me, if not by birth, have lands by wit;/ All with me’s meet that I can fashion to fit” (1.2.180-181). He desires the recognition denied to him by his status as a bastard, causing him to wonder “why bastard? Wherefore base?” (1.2.5) He is required to accept the conventional laws that refrain him from his rights, due to his illegitimacy. Despite his lower status, he believes to be above all others within the kingdom, as he is a product of the most powerful emotion-love, rather than those produced of duty “within a dull, stale, tired bed” (1.2.13), such as Edgar. Edmund is the only character within this play to envision himself as a victim as well as a villain when he states, "Now, God’s, stand up for the bastards…as if we were villains of necessity” (1.2.22, 2.1.121-122). Edmund’s accumulation of anger and neglect drives his ambition to prove to himself, his father, and the Kingdom that he can be as good

 Edmund continues by expressing his outrage at the labeling of a man who is just as rightly made up as another, but is forced into a second-rate status by a society ruled by the dull and stale.  Here he also acknowledges his humanity, but distinguishes himself from others by a quality of fierceness.

During the whole of a dull, dark, and soundless day in the autumn of the year, when the clouds hung oppressively low in the heavens, Clarice Addington, a widow, takes responsibility for a young boy on October 30, 1857. The boy was her grandson, Haywood Addington. Young Haywood’s mother slipped away into a curious sickness and his father vanished silently. Despite the circumstances, his grandmother was faithful and loving while raising him. The arrival of the young Haywood Addington was the best thing that ever happened to her since 1846. Clarice has also experienced the pain of death like her grandson has. Her husband Victor suddenly died about ten years prior to Haywood's arrival. Victor was a successful businessman and was very blessed financially.

He was still a descendant of Gloucester, but just because his parents were not married and he is younger, nothing will come to him. Because of all the injustices done to him, Edmund learns to “[reject]

As he walked through the door, he was shocked at the fact that the building that was quite small in appearance from the outside was massive once in the door, and continued on for what looked like forever. As he walk down the corridor, he was approached by a strange looking woman, wearing a long red coat, and her hair in a messy state, as it looked as if not to be washed or properly taken care of for many years. He asked her “What is this place?” She replied, in a raspy voice “This is the kingdom of Idd, and you are standing in what used to be the king’s foyer.” She went on to tell him of a tyrannical ogre that wanted the riches and spoils the king possessed. She went on to tell him “The ogre stormed the kingdom in the middle of the night, on a rampage through the castle itself, making his way up to the king’s chambers. Once there, he slaughtered the king, and made his way down the hallway to where the children slept, and did the same thing to all 5 children as they slept. The queen of the castle was not in the castle that night, along with 1 of the children. She had been called away on pressing matters in another kingdom and had taken her youngest son with her.” Jack stood with his jaw dropped, unable to really comprehend what was being told to him.

In Act one of King Lear, Shakespeare begins his second scene with Edmund alone on the stage. Although Edmund is one of the three characters introduced within the beginning lines of exposition in Shakespeare’s opening act, Edmund has revealed very little of himself. Even though Kent gestures to Edmund and Gloucester explains the past of his bastard son, up until Edmund’s soliloquy in scene two, the only thing known about Edmund is that he is a bastard. With Edmund’s monologue the audience gains an understanding of Edmund as a character as well as insight into plot developments. To start, Edmund is exposed as a character who is struggling with his role in society and with his own identity.

This illustrates that Kingshaw is prepared to stay with Hooper, his tormenter, so that he does not have to go back to Warings and the way things were

He lived to care about and show generosity to those who were in his life. Edmund was very naive about the bad nature of all individuals. Also unlike Mondego, Edmund went through a major change of character and mindset in the midst of the movie. His whole personality flipped to its opposing side. Edmund turned into a vengeful soul that only dreamed of seeking revenge, and he fully believed to his core that he had to avenge the wrongs that had been committed against him.

Edmund’s cruelty is a rebellion against the unnatural social construct in which he is living. He is the only character in the play who is aware of his nature and of the nature of society. In this knowledge, he notices the ways in which the kingdom is beginning to part ways with the natural order, and seeks to set it right. He is alive in a culture which claims that they must “shake all cares and business from [their] age/Conferring them on younger strengths, while [they]/Unburdenth’d crawl toward death” (Lear. I.i.39-41). In a society focused so intently on issues of nature and civilization, the reversal of natural order affects a great deal. Edmund, in his knowledge of this reversal, does not become a villain seeking personal gain; he seeks to chastise the wicked and to point the way to atonement by highlighting the

Although Edmund is driven by forces more powerful than simple self-preservation, we are never quite given a direct sense of malicious intent or bloodthirstiness. He may be deceitful, shrewd, and cunning, but these qualities are borne of his desire to reclaim the legitimacy that he believes human law has been denying him, not because of any malevolent feeling toward others. He professes to value natural law, believing in the Machiavellian principles of survival of the fittest, and feigning compassion and affiliation only when it serves his self-interests. Edmund’s claims of obeying natural law fall flat; they seem to merely be a convenient means of assuaging his compunctions about the sociopathic measures he takes to pursue his ambition. He both embraces and disregards these natural laws, using his very human powers of eloquence and persuasion to achieve his aims. At the conclusion of the play, Edmund has a sudden and dramatic transformation as he is dying, attempting to save Lear