Neil Gaimen's Never Everywhere

Upon Richard's return to England, he learns of the events that had transpired in his absence. At first his own arrogance allows him to believe that since it is his God given right to rule as King, he will be protected. But then just as quickly, Richard's arrogance turns into despair upon the realization that Henry has gained support of the nobles and the people of England. Henry and Richard finally meet at Ramparts Castle leading to the climax of the play. Henry demands retribution for the allocation of his families' possessions and

When Chillingworth asks Hester the identity of her lover, she refuses to answer. Because of this, Chillingworth makes her promise never to reveal that he is her husband. After Hester is released from prison, she goes to live in a small cottage at the edge of town. After a few years, people begin to notice that her daughter, Pearl, behaves very strangely, and they threaten to take her away from Hester. Hester takes Pearl to Governor Bellingham's mansion planning to plead for the right to keep her daughter. At the mansion she is met by the governor and his three guests, Reverend Wilson, Reverend Dimmesdale, and Roger Chillingworth. Reverend Dimmesdale convinces the governor to allow Hester to keep Pearl. Chillingworth, who has been living with Reverend Dimmesdale since his arrival in town, begins to suspect that Reverend Dimmesdale is the father of Pearl. One evening while Dimmesdale is sleeping, Chillingworth examines Dimmesdale's chest and finds something which confirms his suspicion. From this moment on, Chillingworth devotes himself to seeking revenge. One night, Dimmesdale is so tormented by his conscience that he goes and stands on the scaffold that Hester had stood on seven years earlier. As he is standing there, he sees Hester and Pearl walk by and he calls them onto the scaffold with him. After he acknowledges his guilt to them, a giant red A

Dimmesdale realizes that he must confess his sin and face whatever consequences may lie ahead of him, whether or not his confession is seven years past due. Before reaching the “well-remembered and weather-darkened scaffold,” where Hester Prynne had encountered the “world’s ignominious stare,” Arthur Dimmesdale cautiously comes to a pause (246). Only two people in the crowd, Roger Chillingworth (Hester’s husband) and Hester Prynne, understand why Dimmesdale halts before ascending up the scaffold. He will finally reveal his identity to the town and release the guilt that has built inside of him for seven years. As Hester and Pearl are about to accompany Dimmesdale up to the scaffold, Chillingworth “trusts himself through the crowd” – or, from Hawthorne’s description, “so dark, disturbed, and evil was his look,” Chillingworth “rose up out of some nether region to snatch back his victim from what he sought to do” (247). Ignoring Chillingworth’s effort to stop Dimmesdale, the three mount the scaffold and face the eager crowd. In one of Dimmesdale’s final speeches, he claims that Hester’s scarlet letter “is but the shadow of what he bears on his own breast” (250). The moment after Dimmesdale reveals his ‘scarlet letter’, he stood “with a flush of triumph in his face as one who had won a victory” (251). As Dimmesdale had wished, his remorse and internal pain is forgotten once he reveals his true identity, allowing his soul to experience its elapsed freedom.

There are always two sides to every story. The short story “Where Are You Going, Where Have You Been”, by Joyce Carol Oates is a prefect example of just that. In this short story, the main character is a fifteen year old girl, named Connie. The young adolescent has two sides to herself; one when she is at home and one when she is out with her friends. When Connie is at home, she acts childlike. However, when she goes out she tries to act like an adult by changing her clothes and the way she talks. She has an older sister who shadows her with her smarts, but Connie believes that she is more beautiful and worthy than June. June is twenty-two years old, very well behaved and is actually close with their mother. Connie not only struggles

In Joyce Carol Oates “Where are you going, where have you been?” introduces us to Connie a self-absorbed, rebellious, and very naïve fifteen year old who is tossed into this world of sexuality, and adulthood she believes she knows all about. As Oates explains about Connie to us we get introduced to what influences her to act out and not care what others think and go about dealing with problems herself. Her mom is brought in as an over protective mother who wants to see her daughter succeed but doesn’t go about it the right way she uses the lines “stop gawking at yourself!” to tell us how Connie only cares about her looks and the way she dresses. She even brings in the involvement of her sister and her she lives under her shadow. June is twenty four and works as a secretary at her high school and she had to hear everything June did right while she was usually having trashy daydreams. “She was plain, chunky and steady” as oates described in her story, but Connie got to go out a lot since she hung with her girlfriends. While we learn more and more we believe Connie is going to end up in a ditch dead by the end of the story until she is put in a scenario where she transforms into a character where she has to use her brains to survive and get out of a bad situation.

Arthur Dimmesdale, Hester Prynne, and Roger Chillingworth all committed sins that needed forgiveness. However, only Hester found what they were all searching for. They also were needing to bring it upon themselves to forgive themselves and others. That forgiveness was life or death to Dimmesdale and Chillingworth. They ended up in the grave.

Attempting to hide his past relationship with Hester Chillingworth changed his name. Dimmesdale is ill which is affecting his heart greatly. Chillingworth suggests that Dimmesdale lives with the doctor. The men live in a home near a cemetery previously owned by a widow. As time passes the citizens begin to get a satanic feel given off by Chillingworth. Chillingworth brings back a weed that Dimmesdale questions. Chillingworth states he found it upon someone's grave. Pearl pulls her mother away saying the black man has gotten the minister. Dimmesdale has a mark on his chest that makes the doctor happy. Chillingworth continues play tricks with Dimmesdale’s mind. Dimmesdale begins to have dreams which keep him awake. Dimmesdale blames himself because

In the film The Way We Get By Aron Gaudet and Gita Pullapilly use many rhetorical strategies to appeal to their audience. Their most used and affective appeal is Pathos. Pathos is an appeal to the audience's emotions. The filmmakers us the other rhetorical strategies Logos and Ethos but not as effectively as Pathos.

Joyce Carol Oates has kept her true inspiration behind “Where Are You Going, Where Have You Been” in order to create a willing suspension of disbelief between realism and fantasy. The short story by Oates was released soon after the newspaper published the murders committed by Charles Schmid Jr. in 1966. The story displays numerous resembling details that match the real-life murder case involving “The Pied Piper” of Tucson Arizona. Many writers have written literary pieces on the story expressing inverse views in search for their own figurative meaning. While there are many interpretations of this story and they all include valid points, the

Reverend Dimmesdale is a beloved Puritan minister who's Hester's paramour and father of Pearl. One of rivaling enemies is Chillingworth, physician and Hester's husband, who suspects Dimmesdale is Pearl's father. He begins to notice Dimmesdale declining health and considers moving in with him to ‘nurse him back to health.’ However, as a means of revenge, he takes the opportunity to implement torture and pain upon him. One night, when Dimmesdale falls asleep, Chillingworth sneaks a glance at his chest and discovers a carving within his chest. He then dances with glee and enjoys the sight of subtle torture Dimmesdale has self-inflicted since the “doctor’s joy from Satan’s was the quality of wonder.” The discovery of Dimmesdale's chest may have

In the article, “Is Your God Dead?,” George Yancy makes a compelling argument on the idea of social activism. The argument proposed by Yancy in his article is influenced by the negative remarks human beings have made with each other based on gender, race, religion, or sexual orientation. There is a sense of discouragement being made among each other because we do not like to be view alike. Yet, we have been told by religious figures that everyone is made by the image of Jesus Christ. Yancy is trying to achieve realization in his article. In doing so, Yancy mentions various examples of unholy actions distributed by people. Along with that, Yancy correlates his argument with Heschel’s article on “How dare we come before God with our prayers when we commit atrocities against the one image we have of the divine: human beings?,” in order to further emphasize the key concepts of religious

More than once in every man’s life he has yearned for something that is out of his reach. Whether it be fashionable clothes, an elaborate home, a newer car, or a more desirable career, some things are unattainable. George Milton, one of the main characters

Throughout his novel Everything Flows, Vasily Grossman provides numerous occasions for defining freedom. In the midst of attempting to give meaning to freedom, Grossman greatly invests in wrestling with the issue of why freedom is still absent within Russia although the country has seen success in many different ways. Through the idea and image of the Revolution stems Capitalism, Leninism, and Stalinism. Grossman contends that freedom is an inexorable occurrence and that “to live means to be free”, that it is simply the nature of human kind to be free (200-204). The lack of freedom expresses a lack of humanity in Russia, and though freedom never dies, if freedom does not exist in the first place, then it has no chance to be kept alive. Through Grossman’s employment of the Revolution and the ideas that stem from it, he illustrates why freedom is still absent from Russian society, but more importantly why the emergence of freedom is inevitable.

would have had an alternate ending. While the young man was reaching his hand to open the right door, he changed his mind. As his heart was tightened with the strong love of the princess, he thought that dying by the tiger would rather be better than betray his lover. So, he went right to the left door and opened it. A few minutes after, a beautiful, lovely lady came out. Then the young man knew that he was betrayed by his lover, the

Richard exemplifies the theme of true self in the last moments of his life in prison. It can be argued that while Richard is in the prison, he is expecting his own death and is starting to come to terms with the end of his life. In Richard’s last moments of life, he expresses to the Keeper, “Villain, thy own hand yields death’s instrument. / Go thou and fill another room in hell” (Oxford 921). As similar to Gaunt’s commending, Richard’s statement reveals two poetic devices that help understand the theme of true self. Richard’s use of the keeper’s own weapon to kill the keeper symbolizes a form of strength and power that Richard did not utilize in the past while he was King. Arguing that Richard is aware of his death as a deposed King as soon as The Keeper and Exton arrive, sparks the notion that Richard uses the weapon to express his anger and rage one last time before death. The symbolism of the sword as a representation of power further solidifies the idea that Richard’s awareness of death bring out his true self of rage and regret. Death has the ability to prompt Richard to be how he truly is because there are very repercussions for a dying man. A second poetic