Mrs Luna In The Bostonians

Let's see:-- After some time, to abuse Othello's ear That he is too familiar with his wife. He hath a person and a smooth dispose To be suspected, framed to make women false. The Moor is of a free and open nature, That thinks men honest that but seem to be so, And will as tenderly be led by the nose As asses are. I have't. It is engender'd. Hell and night

The narrative point of view used in the novel is the third person omniscient, like most of the stories we were told as children. Our narrator, the author, knows everything. She can zoom in and out on all the characters, jump from place to place, and even read the thoughts of the main characters. The Prologue tells us all:

Throughout the poem, no one ever speaks or has a dialect. The narrator’s voice has an omniscient presence, which allows the reader to under the emotions and feelings that are being established during the poem. The narrator also establishes the setting and the

(2) The narrator knows does not know very much about what is happening because in the story it states in paragraph one sentence one " It looked like a good thing: but wait till i tell you". When i read this I realized that the narrator could

The narrator’s diction on the page can be described as vain due to the fact he doesn’t need an introduction when the narrator says it is “not really necessary” (4). The narrator’s diction reveals that he has a methodical, stone cold personality that puts the narrator in a more superior position then the human race. Achieving

The characterization of Othello contributes to theme in many different ways. Othello is someone who everyone seemed to trust. “This only is the witchcraft I have used. Here comes the lady. Let her witness it.” (pg.41). This quote analyzes how Othello is honest, he is proving that if others were asked about a certain event, they would

Julia Butterfly Hill’s book, “The Legacy of Luna,” is a personal story she writes about struggles she faces and overcomes about her saving a part of nature that is very important to her. She writes about her experiences living in a redwood tree, Luna, for more than two years to save it from a logging company that is trying to cut it down. Hill’s story begins in the middle of her time in the tree. It begins by her telling how her recent attempt at a resupply failed. The guards are becoming very strict and not letting anyone climb the hill. Hill recounts how a seventy something year old woman, known as Grandma Rosemary, hikes the hill three times and climbs the tree to help Hill. Hill then starts talking about the wind and storms she

Taking Daisy with appreciation and without alarm, we also re-read her character and re-evaluate her moral status. We (the readers) seem to meet James’ sophistication with out own, by agreeing on a mixed interpretation of Daisy: she is literally innocent, but she is also ignorant and incautious. (1)

In any great work of literature, each action and thought should contribute to the underlying meaning of the entire work. No action should exist for its own sake; it must instead advance the plot and reinforce the symbolism of both the characters’ actions as well as the truth of what the composer or author is trying to convey. This is especially true of acts of violence; great literature must carefully articulate the violence into a logical meaning. Most importantly, violence and acts of extreme passion work best when communicating a character’s inner-struggles as they relate to the motive and effect of each scene and action.

A narrator, who is without a name, tells of his first hand experiences throughout the story. This is in contrast to ‘Miss Brill’ in which narrative is delivered in the third person, with the use of free indirect speech to depict the story and portray the characters. By Wells selecting a first person narrative he draws the reader closer into the character’s mind set. This gives Wells the ability to convey the primary characters full spectrum of emotional thought, from open mindedness to the conflict and fear within him. First narrative provides the reader insight to thoughts and observations therefore adding suspense of the unknowing into the gothic style.

Shakespeare is known for his use of recurring themes throughout his work, including love, death and betrayal. These themes are present in his work of Othello. However, the most fundamental issue is jealousy. The lives of the characthers in Othello are ruined by jealousy from the beginning to the end of the play. The telling of the story is carried out by passion, jealousy, and death. Shakespeare’s Othello reveals devastating tragic inevitability, stunning psychological depth, and compelling poetic depth; the fragility and mysterious power of love, as well as demons of doubt, and how suspicion can be triggered by manipulative villain (Barthelemy 12).

During the narrator's travels she meets a “New York alec” (359) that forces a specific perception on her. Accordingly, the narrator is presented with an “almost funny choice. / Choose you which you will be—a prude, or puke” (363-363), she perceives what both choices would resemble. She thinks about the puke when she says, “I know a man who took a double ax… But his heart failing him, he dropped the ax…”, and later simulates a prude as one who “when he can’t do anything, falls back / on words, and tries his worst to make words speak / Louder than actions” (368-370, 400-403). While the narrator realizes that there is a difference between the prude who speaks with actions and the puke who speaks with words, she also recognizes an intermediate position: “It seems a narrow choice the age insists on… That course, they tell me, isn’t offered this year” (404-406). By introducing an alternative to her false dilemma, the narrator introduces an aspect of reality; there are alternatives beyond the two sides one originally perceives. The primary perception the alec forces upon the narrator is complimented by the narrator’s sense of other

The ability of passion to bring destruction upon the lives of the unsuspecting is illustrated in Shakespeare’s Othello with the use of both manipulation and deceit. The curse of fierce passion fell namely on Othello as he transitioned from a respected general to an unstable murderer. His downfall is demonstrated through his increasing self-doubt, lack of ability to articulate, and violence. In the start of the play, he is an accomplished general and happy newlywed, and has yet to be significantly held back due to his being a Moor and outsider in Venetian society. As passion overtakes him, however, Othello truly ingrains the idea that he is less than, and those around him begin to blame his actions on the nature of his ethnicity. He has completely lost his identity to his desires and is unable to think rationally. Shakespeare juxtaposes this version of Othello with his initial composed self in Venice to demonstrate the damage of ignorance to logic and heighten the sense of tragedy. The effects of an overwhelming passion involving love, jealousy, and revenge are shown through Othello’s degradation and loss of stability.

James' manipulation of appearances in Daisy Miller as well as other character's notions of these appearances provides us with a novella of enigmatic and fascinating characters. Daisy, the most complicated of these ambiguities, is as mysterious as she is flirtatious. James gives her a carefully constructed enigmatic quality that leaves the reader wondering what her motivations were and who she truly was. He structures the novella in such a way as to stress the insights that the supporting characters provide into Daisy's character, weather accurate or erroneous. Despite their questionable reliability, they allow James to make commentary on both European and American cultures and social class.

The second voice in the novel, according to Peach, belongs to a black kinswoman who narrates the sections introduced by excerpts from the primer (26). She is an omniscient narrator who is able to provide a perspective that Claudia could not have given. She has access to information that involves characters that are beyond Claudia's immediate range of experience (26). While Claudia's narration is confined to the present and does not attempt to enter the minds or houses of the other characters, the omniscient narrator moves freely into both of these areas (Bellamy 23). She takes the reader into the Breedlove home in "Autumn" and into Geraldine's house in "Winter," and she enters the minds and lives of Pauline and Cholly Breedlove and Soaphead Church in "Spring" and the mind of Pecola in "Summer." In order to make her story more convincing to the reader, the omniscient narrator uses firsthand sources, such as Pauline's fragmented monologues, Soaphead's letter to God, and Pecola's internal dialogue with her imaginary friend. Thus, the reader can be sure of the accountability of the narrator's story.