Tale Of Two Cities Annotation

In A Tale of Two Cities, there are two characters, which are identified as lawyers. C.J. Stryver is one lawyer, and Sydney Carton is another lawyer. C.J Stryver was an arrogant, egotistical man who believed he was the best lawyer that existed. Sydney Carton was a succesfull lawyer, who did not like to be in the spotlight. So C.J. Stryver would not have been a successful lawyer without the help of Sydney Carton.

A Tale of Two Cities, by Charles Dickens, narrates the frustrations of the common people toward Foulon, a French magistrate. The people rejoice when Foulon is imprisoned since he treated them awfully. The nature of the French Revolution is the common people’s elation at the downfall of the aristocracy. Dickens utilizes personification, motif, and symbolism to describe the relationship between the common people and Foulon.

by chance. Coincidences are a main factor in the book and play a great role in the fallout of the

Closely observing a character gives the readers a chance to truly understand them , their thoughts and their points points of views. The actions that Lizabeth takes are things that need to be closely examined to comprehend the complexity of Lizabeth’s behaviors. Lizabeth, the protagonist from the short story Marigolds by Eugenia Collier portrays unique characteristics such as being resilient, addled and compassionate.

In one of Mate’s last entries while in jail, she becomes a serious and sneaky revolutionist. Maria Teresa gets interviewed by OAS Peace Committee and she “unwound that ribbon just enough so the first note with the statement Minerva and Sina had drafted slipped out” (252). Maria Teresa realizes the questioner may be public, even though it was stated as private. Minerva, Sina, and Maria Teresa devise a plan to write a note to the committee and tuck it in her braid. Once Maria Teresa arrives in the room she will take the braid out and the paper for the committee about their life in the prison will be revealed. The reader experiences the change Maria Teresa undergoes from the begin to the end of the novel.

Collier also uses detail to support the poignant tone. After Lizabeth destroys the Marigolds, Miss Lottie looks at her with a face she won’t forget. Through the face of Miss Lottie, Lizabeth saw that “she had been born in a squalor and had lived in it all her life. Now at the end of that life she had nothing except a falling-down hut, a wrecked body, and John Burke, the mindless son of her passion...whatever of love and beauty and joy that had not been squeezed out by life, had been there in the marigolds she had so tenderly cared for,” (405). This evidence reveals that Lizabeth saw what kind of person Miss Lottie is truly is. Lizabeth saw that Miss Lottie was a person born into poverty that lived in filth. Miss Lottie’s only happiness and love were given to the Marigolds that Lizabeth destroyed. When you destroy a person’s only happiness it is natural to reflect on your action when you are in the same circumstances with them and eventually feel guilty and regret your

When the narrator first encounters the girl, his friend's older sister, he can only see her silhouette in the “light from the half-opened door”. This is the beginning of his infatuation with the girl. After his discovery, he is plagued by thoughts of the girl which make his daily obligations seem like “ugly, monotonous, child's play”. He has become blinded by the light. The narrator not only fails to learn the name of his “girl”, he does not realize that his infatuation with a woman considerably older than himself is not appropriate. He relishes in his infatuation, feeling “thankful [he] could see so little” while he thinks of the distant “lamp or lighted window” that represents his girl. The narrator is engulfed by the false light that is his futile love.

When Andrew, her docile servant, punches her in the face during sex, what made him the perfect companion is gone. He not only denies her physical pleasure, but causes her unwelcome pain. She sees that Andrew was not worth her devotion, because the only things that deserved her allegiance were those that brought

From the very style of the story, it is evident that she is deeply thoughtful; she dwells on her surroundings and is analytical of her situation and treatment. This induces a frustrated sympathy in the reader, as one can see the narrator's restrained potential, as she is condemned with the rest 'cure'. Furthermore, the other characters in the story make us feel sympathy for the narrator. John, a practical physician, is married to the narrator, but he treats her more like an infant.

Although Mrs. Lockhart is a minor character in the story, she makes a major impact on the other characters and the overall plot of the story. First, ever since Mrs. Lockharts’

In the short story “Marigolds” by Eugenia W. Collier, dramatic characterization used to deepen the meaning of the theme by making them analyze the story and the characters more critically. Reading the story in third person, the readers get a good idea of Lizabeth’s personality. Early in the story, Lizabeth is shown to be on the verge of childhood and adulthood, when she has to carefully decide whether she should throw the stones at the flowers or not. Using dramatic characterization, Lizabeth’s personality alters, letting readers get to know the reasons behind her actions. Lizabeth undergoes some emotional changes throughout the story, and the readers get to see her cope with these feelings. When Lizabeth witnesses her father crying, she doesn’t

It not only threatens, but also breaks through. Betrayed by love once in her life, she nevertheless seeks it in the effort to fill the lonely void; thus, her promiscuity. But to adhere to her tradition and her sense of herself as a lady, she cannot face this sensual part of herself. She associates it with the animalism of Stanley's lovemaking and terms it “brutal desire”. She feels guilt and a sense of sin when she does surrender to it, and yet she does, out of intense loneliness. By viewing sensuality as brutal desire she is able to disassociate it from what she feels is her true self, but only at the price of an intense inner conflict. Since she cannot integrate these conflicting elements of desire and gentility, she tries to reject the one, desire, and live solely by the other. Desperately seeking a haven she looks increasingly to fantasy. Taking refuge in tinsel, fine clothes, and rhinestones, and the illusion that a beau is available whenever she wants him, she seeks tenderness and beauty in a world of her own making.

Even in her state of anger she cannot help but once again be the restrained and subdued one in their relationship. Despite all of the happiness she has found with Rochester she still cannot bring herself to stay in a relationship in which she sacrifices part of herself, because she doesn’t know how to reconcile her need feel like she belongs and is taken care of while at the same time remaining uncorrupted.

Out of all the compelling characters in this story, Lucie Manette and Jarvis Lorry are the two that are most interesting to me. In the beginning of the story, they were strangers. However, as the plot develops, we find out they have actually met before. When Lucie became an orphan, Lorry took her to England to be raised. This action shows that Lorry cared for Lucie and wanted what was best for her. They meet again when he takes Lucie to her father. Throughout the story, they grow a strong bond.

The narrator is unknown to the readers but describes Catherine’s, and other characters inner thoughts, that would otherwise be reserved to them. Although it is Catherine that is made the main focus, “Catherine’s feelings, as she got into the carriage, were in a very unsettled state; divided between regret for the loss of one great pleasure, and the hope of soon enjoying another”, her narrative representation is sympathetic and pleasant but the third-person structure also allows for Catherine’s nature to be presented without confusing the