The High Window Edges Close At The Death Of Morningstar And Detective Phillip

Sergeant Major Morris warns the White family of their dreadful fate, however they do not listen and it makes the story even more suspenseful for readers. The first example of foreshadowing is when Sergeant

The judgmental theme is introduced at the beginning by narrator with her description of Clarence Hervey. The narrator is unaware of how equal she is to Clarence Hervey, such as being educated. She seems to judge Hervey so much that that the authors comes off as jealous. The narrator is jealous of Hervey’s comfortableness to his role in society. Clarence Hervey knows what he is doing, he knows his charade, whereas the narrator portrays Hervey to be so insecure, the narrator is actually the insecure one. In the passage, each character judges each other. It begins primarily with the narrator who explains that Hervey is ignorant because of his decisions. It continues with Hervey who presents that he hates Mrs. Stanhope, because he believes that her job is to force people who don’t belong together, to be together. But what Hervey doesn’t understand is the fact that, his affection towards Belinda isn’t “true love” either. Clarence Hervey’s love for Belinda is unrealistic. Where Hervey doesn’t believe in Mrs. Stanhope’s “match-making”, but he would ooze at Belinda’s word, look, and motion. Through the use of the narration of Clarence Hervey, the narrator portrays Hervey as someone who is unrealistic and impractical. Whereas this would not only describe Hervey, but also would expose the true personality of the narrator as well. The judgmental identity that the narrator possesses, develops through Clarence Hervey’s

Although Jack admits that Susie has left, he shifts his attention to another desire, the desire to bring her death to justice through an unlawful path. “‘We’ve just built a tent,” Mr.Harvey said. ‘The neighbors saw us. We’re friends now’ ‘You know something,” my father said. (57). Jack, like everyone else has flaws and his stubbornness leads him to doing something he would not normally do. His unextinguishable passion to find Susie’s murderer leads him to coincidently believe that Mr.Harvey is Susie’s killer. However Mr.Harvey is the murderer of Susie, the evidence shown to Jack and the police show no evidence that Mr.Harvey committed the murder, which further proves that Jack is chasing a blank slate. Jack needs a scapegoat for his grief and chooses to find revenge in unproven subjects. “‘A father’s suspicion’ she began. ‘Is as powerful as a mother’s intuition” (87) says Jack. Once again Jack is trying to find a reason to make his illogical suspicion logical. Jack refuses to believe that Susie’s death occurred without a killer. He puts himself in denial and by doing so he will grieve forever. Jack’s perpetual grief will go on as long he finds things to place guilt on. Furthermore Sebold shows that rage and denial can be used to deal with the death of a loved one.

Larry Watson, in Montana 1948, presents a story of a family that not only Wesley Hayden, as the sheriff of the town and the brother of the accused doctor, but the whole family struggles between the family loyalty and justice. Watson develops each character through own ethical dilemmas and the way they deal with those dilemmas. Since the novel starts with an unexpected event or secret of Uncle Frank, Watson organizes the whole novel in a fast and depressing rhythm. To make the novel more interesting to readers, Watson applies the rhetorical techniques such as symbol and parallelism to render the tense atmosphere and further expressed the characters’ inner mind.

In addition to this, sentence structure plays along in exemplifying the effort to push readers to understand others’ pasts as the reasons why they are who they are. Again, the narrator is finally understanding Bartleby’s nature and becomes an example to readers. As he does so, he is emotional, which is why he uses melancholy diction, and this also affects the sentence structure of the passage. The sentences are easy to map, using a combination of

depicts Mrs. Parsons as a character who is not conscientious in the novel, especially in

The way princes “ran off with parlormaids” suggests a juvenile love that forms when parents and society disapproves of it which generates a little drama to the reader before Larson begins to give more examples of different affairs. The manner in which “bank presidents seduced typewriters” offers more mature prospect and “seduced” denotes a more surreptitious, more serious relationship to add more tension. By adding “when necessary” and projecting a final example of an affair, Larson displays how enticing and potentially risky these involvements are, even to people considered rational and professional like attorneys and doctors, to amplify the building drama. The parallelism of the list of scandalous affairs emphasizes Larson’s word choice of how Holmes “reveled” in his “possession” of a secluded woman in a faux innocuous affair demonstrates how Julia was just a mere toy to him that belongs to him “as if she were an antebellum slave” for his amusement and use which elevates the tensions the reader feels

Often, protagonists have more in common with antagonists than originally believed upon the introduction of a novel. Revealing a character in his entirety takes time. Such is the way In Eudora Welty’s The Optimist’s Daughter. Welty portrays Fay and Laurel very differently in their relationships with the Judge; however, upon further examination, Fay and Laurel do have striking similarities regarding their out-of-place lives in Mount Salus without the Judge.

Mis-en-scene shows Viven matching Marlowe in wit and power. ‘You're not very tall are you?' represents the ‘higher standing' in society as a woman in late war America.

Furthermore, Rebecca reflects the conventions of the romantic genre by showing that the heroine?s first impressions of the hero were incorrect. She had first viewed him as ?hard? and ?sardonic? due to his remarks at Mrs Van Hopper, ?He got up at once, pushing back his chair. ?Don?t let me keep you,? he said. ?Fashions change so quickly nowadays they may even have altered by the time you get upstairs.?? However, following her first breakfast with Maxim, she realises that she was wrong and says, ?I had ill-judged him, he was neither hard nor sardonic, he was already my friend of many years.? The first impression of Maxim only lasts over one coffee with Mrs Van Hopper however is fixed soon after when he sends the heroine a note which reads, ?Forgive me. I was very rude this afternoon.? It is evident that as soon as she receives this note, her opinions of the hero change. She also elaborates on her feelings the next morning when Maxim invites her

this clipped, laconic style was considered to be highly realistic and appropriate around the time this work was written. Also, Hammett’s “objective” point of view plays hand in hand with that literary style, such as how Spade is shown to be calmly rolling a cigarette after the news of Archer’s death through pages 16 to 18; his feelings are unknown, but readers see his careful precise technique. The clipped, laconic and objective style puts emphasizes on objects and actions, allowing readers to decide for themselves the characters’ reactions and consciousness. Coupled with the usage of real-life underworld slang, Hammett is able to bring this fiction closer to reality. Even disregarding the language and style, he also uses characters to symbolize events that have

shows us that one of the characters, Miss Bingley, lacks completely of virtue. The Aristotelian

Mansfield created the story with the intention of allowing it to be open for various interpretations; though she includes specific detail concerning the characters Mansfield does not elucidate them in a manner that clearly defines their personalities. The story, like the budding rose, is one that never peaks to maturity, but rather remains in the developing stage because of its ambiguities which cause it to be discussed and interpreted in many varying ways.

This is expressed at both the start and the end of the novel. The “light” of Marlow, and his subsequent psychological awareness and evolution, is contrasted by Kurtz, who, as many have expressed, may represent the “dark” half of Marlow.

Douglas is crushed by John’s news, and he deals with the loss of his friend by getting angry with John. Afterwards, Colonel Freeleigh dies, and Douglas feels a great loss. He comes to realize that the colonel’s legacy has died with him. As August starts, Douglas begins to lose his enthusiasm in summer. However, his grandfather is able to raise his spirits with dandelion wine. The dandelion wine that he makes with his brother Tom and his grandfather represents the spirit of summer that Douglas loves so much. Eventually the thought of death begins to haunt Douglas. He witnesses the brief relationship between Bill Forrester and ninety-five-year-old Helen Loomis. Although their ages are far apart, they talk together every day for weeks, as if seems that their minds are perfect for each other, although it ends when Miss Loomis dies. In the end, Douglas comes to terms with death and that summer is coming to an end although he reflects on what he’s observed throughout the summer and looks on never forgetting the magic of life that summer brings through the power of dandelion wine.