The audience are encouraged to think deeper about the story and work out what lies beyond the plot. Priestly is telling us that prejudice can prevent people from acting responsibly. At the beginning, the characters are ignorant so Priestly uses this as a vehicle for his
He presents himself with only limited information about his motivations, and his ambition to finish off his master piece and careful manipulation of Fortunato indicates the care with which he has planned his execution. However, we again have a classic case of Poe's unreliable narrator, whose guilt and occasional irrationality prevents him from presenting himself truthfully to the reader. However, we can see that Montresor shows a particularly black sense of humor, with which he amuses both himself and the horrified reader as he leads Fortunato into his trap. He informs the audience of his intentions before he begins the story of his encounter with Fortunato, and Poe employs both verbal and dramatic irony to convey the darkness of the story. A very good example of black humor can be found at the very beginning of the story itself: Montresor’s had "vowed revenge" against Fortunato, but he decided to mask his real feelings by outwardly appearing friendly towards him.
Throughout the entire book Tim O’Brien was as deceptive as they come. When introducing us to the other characters and him, O’Brien dissolved the barrier between truth and fiction. Along with this barrier went the reader’s trust. No longer was there the individuality of truth and fiction but now there was more like a dangling ambiguity of every little fact in the story. From the length of the grass, to the color of Mary Anne’s culottes, it was all probably made up.
“The Things They Carried” is a text that focuses on writing as a form of coping with trauma and discusses how exaggeration is sometimes needed in a story to convey the message that the story-teller is trying to get at. An example of this is when the author talks about how for Rat Kiley “facts were formed by sensation” (89). Kiley is described as telling his stories as though they are intended to be tragedies, even the funny parts. This is because there is an underlying sadness to every war story, even though humor can be found in them. Part of this may be attributed to the ‘education’ each soldier received when they first went off to the war.
Poe presents a narrator who is vile and brutal. He is a murderer who is open to admitting this and he believes that he is right in performing this task. Poe is trying to show that when in first person perspective, there may not always be trust or preference of the narrator. Poe has written this story in a form so that the audience feels more sympathy for Fortunato rather than the narrator. He does not give the reason why Montresor wants revenge on this poor man, leaving the option open that the narrator may be simply mad.
It can already be assume that the narration will be from an uneducated person from the way that they form their sentences. I can already tell that it may be slightly awkward reading this novel, as the syntax is much different than I would read in any other modern novel. | Emotion vs. Moral Duty | 1 | 2 | “…and took a set at me now with a spelling-book. She worked me middling hard for about and hour, and then the
The Tell-Tale Heart Assignment: We notice that some details in Poe’s “The Tell-Tale Heart” make a literal reading of the story rather difficult. Advance and defend a figurative reading of the story consistent with the story’s details. Poe seems to focus on creating mood throughout his story. Many symbols in this story are interpreted in several different ways depending on the reader. These symbols throughout the story include the old mans eye, the heartbeat and the contradiction between love and hate in which I will be talking about in this paper.
Williams has read The Adventures of Huckleberry Finn, and where Julius Lester does not understand the novel, Williams does. He begins bye recapping the book’s long, history of censorship. “The earliest censors… believed the novel would corrupt the young” (Williams 98). In the story, Huck would spit and do rude things that were believed to be unsuitable for young readers at the time. These opinions have, however, changed.
Many literary scholars have struggled with the “truth” in one of O’Brien’s most famous works, The Things They Carried, a collection of twenty-two tales on the Vietnam War that stand alone just as strongly as they tie together. Although O’Brien is a Vietnam War veteran, unwillingly drafted in 1968 and serving until 1970, he purposively fictionalizes the war experience throughout The Things They Carried while simultaneously insisting that the essence of the work is true, a notion that many scholars question. Teasing out which experiences O’Brien describes are true, which are folklore, and which are imagination would be a near impossible task because
He can read it in a few different ways: If he thinks the proper tone is murderous anger, he might scream the line and cause the veins to bulge in his neck. He might assume the tone of cool power and murmur the line in a low, even voice. Perhaps he does not mean the words at all and laughs as he says them. Much depends on interpretation, of course, but the play will give the actor clues about the tone just as a poem gives its readers