The Masculine Crisis In Manhattan Transfer

By using pathos, he creates an appeal to the reader from many different aspects. Fear is one emotion he tries to get at. When he

• What are the characters’ emotions, attitudes, and behaviors? What do these indicate to the reader about the character?

The expressions of the characters, caused by their surrounding, is also a factor that can alter the psychological traits in a character. The Man states “He does not trust his dreams, believing that they are "the call of languor and of death” (McCarthy 15).The man has a vivid

The short story“The Necklace” by Gui de Maupassant follows Madame Loisel and her husband who are living in the middle-class during the rise of the middle class in Paris, France.There are many different examples of irony throughout the short story, demonstrating Maupassant's talent at commenting on the society in which he was immersed in. The theme of “The Necklace” is revealed through the character Madame Loisel, irony, and symbolism.

Another element of this story is emotion. Emotion is described as a strong feeling of any kind. This story possessed a lot of emotion, ranging from Don’s see-saw feelings of Eden, to Eden’s feelings of being successful. Don’s emotions throughout this story was kind of rocky, as to how he felt about Eden.

After leaving the calming flow of the river, Montag pinpoints a glow, coming from fire in the distance. When he strolls closer to the light, he observes that the fire is unlike the one he’s used to burn. Montag discovers a new side of the once demeaning fire, “He had never thought in his life that [fire] could give as well as take ” (139). Until now, he has only seen a fierce, destructive side of fire, but now he sees a comforting fire, giving warmth to hands. As fire can have another purpose, this could symbolize Montag finding different purpose in his life. He soon meets the owners of the hands surrounding the fire, and they kindly welcome him to their group, consisting of runaways just like him. Granger says to Montag, “‘You are the Book of Ecclesiastes! See how important you’ve become in the last minute!’” (144). Montag has found a new purpose in his life, to share his knowledge of the Book of Ecclesiastes with other people. This depicts Montag’s mastery of both worlds, as he can distinguish between a destructive and comforting fire, a fire of his known world and the unknown world, and he uses his new intelligence and shares it with other people. Montag has recreated himself, like the Phoenix, by ridding himself of his old life and with the birth of his new

the emotions of the readers. He successfully gives a vivid image in which the audience can begin

Emotion is a human instinct that most people find hard to control. It can completely dismantle life as someone may know it. Authors can access emotion and use it to persuade their audience to believe or do a certain thing. Of course, ethics and logic can be used as well, but nothing can compare to the power of pathos. The Crucible, Sinners in the Hands of an Angry God, and A Narrative of the Captivity and Restoration of Mrs. Mary Rowlandson all use emotion through word choice to persuade their respective audiences.

, the characters in the story often show emotions whether it be externally or internally. The

One can also only speculate that how Madame Lantin’s insatiable craving for jewels, that her husband cannot afford, is motivated by the socioeconomic condition of the world in which she moves. When Maupassant explains that Madame Lantin is extremely reluctant at first to go out in the evenings without her husband to escort her, he gives the reader one of the only clues about her possible feelings as she makes the transformation from a dutiful and virtuous wife into a woman who is extravagantly showered with expensive gems by other men. (Constantakis 1)

When he returns home to Algiers, Meursault carries on with life as normal. Over dinner one evening, his neighbor Raymond tells of his desire to punish his mistress for infidelity, and asks Meursault to write a letter to the mistress for him. Meursault agrees, saying "I tried my best to please Raymond because I didn’t have any reason not to please him" (32). While Raymond is a man of questionable morals, he acts with purpose. Meursault, on the other hand, acts with mostly passive indifference, doing things simply because he doesn’t have a reason not to do them.

This easy-going, pleasant hedonism is interrupted permanently by Meursault's murder of the Arab on the beach. Not only is he incarcerated, but also he must examine the reality behind the illusion of his trial and, ultimately, of his life. Introspection has not been his metier. It takes him a while to realize that the judge, the jury, the journalists, even his own lawyer, do not wish him well. Meursault finally realizes that he is going to be convicted, not because he killed an Arab but because he did not mourn his mother's death.

In Gustave Flaubert’s Madame Bovary, it is difficult to know what to think of Monsieur Binet and his lathe. His constant devotion to such an unrewarding pursuit would seem to act as the bourgeois backdrop to Emma Bovary’s quest for eternal passion and excitement, a polar opposite with which Emma can stand in sharp contrast. However, it turns out that Binet and his lathe have more in common with Emma and her rampant desires than what would first appear obvious. Binet’s lathe still serves as a background with which to compare Emma’s quest for love and riches, but instead of acting as a complete antithesis to everything she does, the lathe is meant to be subtly different

enjoys Marie’s company. But, it seems like her enjoys her as a woman rather than as an

With each letter in Les Liaisons dangereuses, Choderlos de Laclos advances a great many games of chess being played simultaneously. In each, the pieces—women of the eighteenth-century Parisian aristocracy—are tossed about mercilessly but with great precision on the part of the author. One is a pawn: a convent girl pulled out of a world of simplicity and offered as an entree to a public impossible to sate; another is a queen: a calculating monument to debauchery with fissures from a struggle with true love. By examining their similarities and differences, Laclos explores women’s constitutions in a world that promises ruin for even the most formidable among them. Presenting the reader glimpses of femininity from a young innocent’s daunting debut to a faithful woman’s conflicted quest for heavenly virtue to another’s ruthless pursuit of vengeance and earthly pleasures, he insinuates the harrowing journey undertaken by every girl as she is forced to make a name for herself as a woman amongst the tumult of a community that machinates at every turn her downfall at the hands of the opposite sex. In his careful presentation of the novel’s female characters, Laclos condemns this unrelenting subjugation of women by making clear that every woman’s fate in such a society is a definitive and resounding checkmate.