The Seagull

The next silence comes after a week of continued daily meetings and foretells the relationship’s passage from casual to physically intimate.  Before the silence is noted, Dmitri and Anna are at a jetty admiring the sea and watching the boats come and go, and Dmitri is watching Anna closely; as she chatters aimlessly, he notices her movements and the shining in her eyes, all of which are the backdrop for the rising tension that peaks during a moment of silence:  ‘“The weather’s improved towards evening,” he said.  “Where shall we go now?  Shall we take a drive somewhere?”  She made no answer.’  Anna’s failure to respond (her silence) marks the height of the tension and is immediately followed by a sudden embrace, a passionate and romantic kiss, laden with the nervousness that comes with public indiscretion, and finally, the suggestion from Dmitri that the two go to a private place to consummate the relationship:  “Let’s go to your place…” he said softly.  And they both walked quickly’.  Once again, after a silence, the relationship escalates.  Chekhov uses the device repeatedly as the two fracture over Anna’s guilt and go their separate ways; the extended

This story’s general setting takes place in nineteenth century Russia. But, there are also many particular settings throughout this narrative that largely affect the characters and create many problems the narrator and Anna Sergeyevna have to face. In the beginning of the story Gurov and Anna find themselves taking vacations in the same city to get away from their other lives. But, when they have to part they realize how much they actually mean to each other. This can be seen in the following excerpt when Gurov realizes that Anna has not left his mind ever since they went home, “He would pace a long time about in his room, remembering it all and smiling; then his memories passed into dreams, and in his fancy the past was mingled with what was to come. Anna Sergeyevna did not visit him in his dreams, but followed him about everywhere like a shadow” (Chekhov 172). Therefore, the conflict that the setting creates is the distance between Gurov and

However, they miss each other in the crowd, which adds to the tragedy and empathy of the audience, especially after Boris’s death, which is also in the film. In the play, the audience did not for sure that Boris was dead until Veronica and the family knew. By showing Boris’s death and allowing the audience to know before the characters, the movie creates more sympathy and dramatic tension while watching Veronica hope for a letter and the return of Boris.

However, when he accidently almost dies, he is suddenly overcome with the will to live. As Yuri gripped onto his life, it is stated that “ He scrabbled with his other hand, all thoughts of death gone. He wanted to live.” ( Kennedy 67). This sudden change of perspective indicates that he has gone through a realization of what he truly feels.

When Raskolnikov was a student he enjoyed the debate and human contact, but also strived for acceptance. He had a dual nature to himself, which could be characterized by his cold intelligence, which separated him from society, and his compassionate side. After Raskolnikov murdered Alyona and Lizaveta Ivanovna

Yuri’s personal life also consisted of many tragedies including the deaths of her two oldest children, Billy and Aichi, her husband Bill, and the suicidal thoughts she suffered with her declining health. With each moment of grief, Yuri eloquently and sincerely conveys the sorrow she felt by glorifying how each one of them embellished not only her life, but the lives of many others who grieved with her following her children and her husband’s deaths. Yuri’s tragedies may have left her in extreme agony, but they each gave her another reason to live and impact the lives of many others.

In the beginning of the short story, we learn about Sylvia’s love for nature. Nature gave her a sense of utility the crowded manufacturing town could not offer. When she was walking home with Mistress Moolly, the cow, they encountered a deserted cat that came to greet them. She whispered to the cat saying, “This is a beautiful place to live in, and she never should wish to go home” (Page 527, para 3). As Sylvia grows closer to the stranger she is in an inner-conflict with the emotions of greed and her love of nature. The monetary reward in revealing the heron’s location gives Sylvia a temporary thrill, as we learn from the use of third-person-limited point of view, “No amount of thought, that night, could decide how many wished-for treasures the ten dollars, so lightly spoken of, would buy” (Page 530, para 1). However, the story concludes in a “relieving manner” for the reader. Although, we do not know if the hunter found the bird later on, the reader becomes alleviated by the fact the endangered bird was not revealed at that moment. Regardless of the monetary reward, Sylvia will not betray her values about the love for nature of which she shares with the white heron.

He believes he had killed Gregory and begins to realize that all of his past behavior, the “stereotypical decisions, which have conscribed his character” is not who he wants to be (Jackson, 2004). In order to become the man he wishes to be, Dmitry makes a very un-Karamazov decision; he decides to purposely inflict suffering upon himself as repentance: “I understand now that men like me must be struck down by life; they must be caught as in a lasso and bound by an outside force. Without that, I would never have risen by myself... I want to suffer and to cleanse myself by suffering” (Dostoevsky,

The epic journey of “The Old Man and the Sea” describes struggle, discipline and manhood. The main characters relationships exemplify how faith and skill overcome man’s adversity during life on the sea. Santiago’s growing relationship with the boy idealizes his statute as a father figure and develops his integrity and values towards the boy. Hemmingway shows us how an old fisherman’s will to overcome the sea’s obstacles proves his manhood to himself and the young boy. His skills and knowledge of the sea provide a positive influence for the young boy to become a great fisherman someday.

With Marmeladov’s death, Katerina Ivanovna indulges in the opportunity to put together a funeral party that exceeds the expectations of others. Katerina, resentful, aims to redeem herself with acts of refinement and hospitality. Since she considers Marmeladov the source of her destitution and overall suffering, his death is liberating. In reality, however, she is bound to her illusions and cannot move past her former self. Instead of rebuilding her family and herself, Katerina concludes that self-redemption equates with an achievement of respect. Dostoevsky mentions she “seem[s] to be abandoned by everyone on earth” to magnify her desperation; she believes she can redeem her sense of worth with the approval of others. Ironically, she loathes

The main argument of the book ‘The Sea-Wolf’ is about opposing behaviors of human being depicted by the role of nature in revealing the inner self of a person. In this regard, London uses two of his main characters to demonstrate the distinct opposing sides of human beings. The first part is about Humphrey, who is a young Dutch struggling with his demons and difficulties in the sea as he hope to change his life and those of fellow crews . Humphrey is initially weak, rich and naïve, and with straight morals . Humphrey believes on fairness, compassion, and all through the story despite being close to the evil Larsen he refuses to follow his footsteps .

Prospero and Lear are, without a doubt, the two most compelling mature figures in Shakespeare. In a way, one is the flip side, so to speak, of the other. Each represents an aging man's relationship to family, environment, and, most importantly, himself. One might even be so bold as to venture that had Lear lived, he might, through the enormity of his painful transformation, have become a character much like Prospero, a man who has learned bitter lessons from his intercourse with the world and has

The Old Man and the Sea has man tensions, ambiguities, and ironies that arise within the work which the work uses towards a particular theme. There are several themes that unify into one resolution. The Old Man and the Sea can be interpreted to discover how it functions as a self-contained, self-referential aesthetic object. This would be how the structural purpose of the text could be explored. The first step to this process is to find a confusing, unclear section within the text.

When he heard of the critical conditions of his sister and Sveta’s boy respectively, he did not hesitate to use his first two wishes to save them respectively. His sister had a fatal lung cancer; “The fish undid it in an instant-the words barely out of Sergei's mouth.”.(lines 135-137) And

Gurov, dissatisfied with his monotonous life, goes to Anna because he needs the scandal to relieve a numbness that has taken effect, not because he loves her. She merely reciprocates his affection, not out of love, but to escape the entrapment she feels from her marriage. In a subtle climax during his return home to Moscow, Gurov feels the agonizing absence of anyone he can talk to meaningfully about the personal secrecies of his life, specifically Anna. This intolerable sensation sends him to “S—,“ to find her. Only when Gurov is standing outside Anna’s house does he actually relate to her situation and form some genuine connection. “Just opposite the house stretched a long grey fence adorned with nails…One would run away from a fence like that," thought Gurov, looking from the fence to the windows of the house and back again…He loathed the grey fence more and more, and by now he thought irritably that Anna Sergeyevna had forgotten him, and was perhaps already amusing herself with some one else, and that that was very natural in a young woman who had nothing to look at from morning till night but that confounded fence” (p.230). With Gurov’s realization, he actually escapes his fenced in world and partially enters her miserable one. In sharing a connection, their emotions and psychological needs start to blend together and they become entrapped by the same fence, where inside, the two of them are alone and vulnerable in a shared arena. This isolation