The Count Of Monte Cristo Analysis

He is disgusted with the way the gentlefolks are handing themselves around nature, and the narrator wants the reader to picture in their mind the image he is seeing to illustrate his disdain for the gentlefolk in a different manner. Then along with that sees them as cold hearted and conscienceless, as the gentlefolk are able to do such things, as the speaker says,”...without a pang of remorse…” In lines 25-26 the narrator says,” Is its colour any prettier, or its scent any sweeter, when you do know.” This sarcastic statement illustrates that by cutting up a flower to comprehend what it is made of , no person can gain appreciation for its simplicity, being its colour and scent are natural. The gentlefolk would destroy such a thing as a flower, which poses no immediate gain by destroying it, the author shows great

In this essay, I will take a gander at the play of Romeo and Juliet. I will examine how Shakespeare has utilized dialect in the play for symbolic impact. I will also see how Shakespeare has displayed love and the path in which Romeo and Juliet converse with each other, I might choose whether their affection was genuine and discuss their parents differentiating perspectives and conclusions. I will likewise remark on the play's pertinence today and perceive how Shakespeare has utilized dramatic devices and structures to improve the discussion between the youthful lovers. All throughout the play, there is a consistent theme of love and destiny, I will be dissecting this subject and show how it influences Romeo and Juliet.

The garden of Phaeacia is insanely wealthy. The land is so fertile that all kinds of fruits are abundant in the garden.."..Olives swelling sleek and dark/ And the yield of all these trees will never flag or die/ neither in winter nor in summer, a

“There were no words, and no movements but the tearing of teeth and claws.” (169)

William Shakespeare is the world’s pre-eminent dramatist whose plays range from tragedies to tragic comedies, etc. His general style of writing is often comparable to several of his contemporaries, like Romeo and Juliet is based on Arthur Brooke’s narrative poem, “The tragical history of Romeo and Juliet”. But Shakespeare’s works express a different range of human experience where his characters command the sympathy of audiences and also are complex as well as human in nature. Shakespeare makes the protagonist’s character development central to the plot.

The concept of revenge is one very known to human nature. Most people are familiar with the desire to get payback, though often individuals choose not to act on it as it is often a more fleeting emotion than lasting fascination. Being such a relatable and commonplace affliction, this feeling is also central in many works of fiction. The Cask of Amontillado by Edgar Allan Poe and The Count of Monte Cristo by Alexandre Dumas both share a common plotline as they explore themes of betrayal, deception, and revenge. The protagonists, Montresor and Edmond respectively, both set out to seek revenge against those who they feel have done them wrong. The writing styles share a similar dark tone as the ideas of justice and deservingness are challenged through the characters’ actions.

“Those were dear good people, but they must have carried simplicity and credulity to the limit. They would stick a pin in my arm and bear on it until they drove it a third of its length in, and then be lost in wonder that by a mere exercise of will-power the professor could turn my arm to iron and make it insensible to pain. Whereas it was not insensible at all; I was suffering agonies of pain” (3).

Alexandre Dumas was a master of literature; the sheer artistry in The Count of Monte Cristo makes this abundantly clear. His command of parallelism, his employ of subtle yet vivid characterization, and, most markedly, his frequent use of irony are the evidence. The latter in particular is common and used for a purpose. At times, irony is applied to insert a sliver of humor into otherwise heavy scenes; this is especially true with Dumas’s application of verbal irony. At other times, irony is exercised in order to act as a plot point. Overall, the author’s use of irony is crucial to the story’s progression.

To establish the sinister intentions of Richard the actor, Shakespeare makes reference to his moral and physical impediments that leave him cursing “I that am not shaped for sportive tricks…I that am curtailed…”. Through the subtle use of anaphora and repetition of ‘I that am’, which is fleshed out by a definitive tone, the audience is made aware of how Richard is led ostensibly “to prove a villain” and thus, adopt a disguise. Moreover, Richard’s theatricality is stressed as he embarks as a ‘master’ of his own fate, for he perceives himself as “subtle, false, and treacherous”. His sinister intentions are exemplified by the use of tricolon, evocative word choice and short sentence patterning that create a sharp staccato effect. These intentions allow Shakespeare to subtly resonate Richard with the Vice from the medieval morality plays as well as the Renaissance Machiavelli who actively sought power, caused mischief, practised deceit and cynically gloats over his success. Moreover, Richard’s acting allows him to confide in his audience as he is paradoxically honest about his dishonesty, whilst also encouraging his audience not to detest him, but rather, take delight in his cleverness as the ‘director’ of the play. Thus, the opening soliloquy of Richard III offers an insight into how Richard manipulates the

Though often times in the world one may get caught up in the secrets and rumours about them or those around them, it is these secrets and rumours that shape a human being’s character and relationships with those around them. In the Shakespearean tragedy, Romeo and Juliet, the effects that secrets have on characters’ relationships shape the play, yet more specifically, it is the literal secrets regarding relationships that shape such relationships, which, in turn, shapes the play. Different relationships as outlined thoroughly in the play are not only a result of the secrets themselves, but the location in which these certain secrets are initially portrayed.

‘”So only he saw the lump of shadow that clung the Ged, tearing at his flesh. It was like a black beast, the size of a young child, … and it had no head or face, only the four taloned paws with which it gripped and tore’”(Le Guin, 67).

Allusions aptly incorporated lend a rich penumbra of meaning and significance to the use of only few words. Granted, the average and even the above average reader will need footnotes to know the situation of Guido da Montefeltro, to understand the prefatory Italian of the poem, and to sort out which biblical Lazarus Eliot alludes to. Less demanding are the references to Shakespeare, Marvell, and Michelangelo. But recognition of allusions brings delight and a sense of intimate understanding between reader and author.

After Hester is released from prison Hawthorne leaves us wondering if her choice to stay in Boston was even a choice she could make. Chapter five opens with Hester coming into the light and leaving the cell in which she had been punished in for so long. However, once she is out, she decides to stay in Massachusetts, in the same community which has shamed her for so long. Hawthorne describes the decision when he writes, “it may seem marvelous, that this woman should still call that place her home… But there is a fatality… which almost invariably compels human beings to linger … the spot where some great and marked event has given the color to their lifetime” (71). In this quote Hawthorne is not only speaking of Hester, he is speaking of

Literary devices are frequently used throughout acts four and five of Shakespeare’s The Merchant of Venice. Some of the most prominent devices used on TMOF are dramatic irony, allusion and symbolism. These devices help further develop theme ingrained in the story such as marriage, deceive, wealth, and religion. The use of literary devices helps ensure the story transitions smoothly and is pleasant to the reader, it might also help in the comprehension of the story´s characters.

Villains play a very important role in every literary work. Whether they exist as people, circumstances, or even nature, their purpose is to provide a problem to be solved by the “good guys”. Without villains, no piece of literature would be worth reading. Abigail Williams in Arthur Miller’s The Crucible and Iago in Shakespeare’s Othello are master villains. Both antagonists are fuelled by thoughts of revenge, and rely heavily on deception and manipulation to get what they want.