It’s dark, horrific, and grave. Allan Poe sets an atmosphere for a whole story just from the first lines, when he introduces the Red Death “The Red Death had long devastated the country. No pestilence had ever been so fatal, or so hideous. Blood was its Avatar and its seal - the redness and the horror of blood” (389). The eerie mood covers every words of the story, from the luxurious masquerade ball to the death of everyone attending in that ball.
Symptoms would include red, grossly inflamed and swollen lymph nodes, called buboes (hence the name bubonic), high fever, delirium, and convulsions. However, if the bacterial infection spread to the lungs (pneumonic plague) or to the bloodstream (septicemic plague) the unfortunate victim would certainly die, usually within hours with symptoms too horrific to recount. The Elizabethan pamphleteer Thomas Dekker wrote a chilling account of the chaos and despair brought by the plague: Imagine then that all this while, Death (like a Spanish Leagar, or rather like stalking Tamberlaine) hath pitched his tents, (being nothing but a heape of winding sheets tacked together) in the sinfully-polluted Suburbes: the Plague is Muster-maister and Marshall of the field: Burning Feauers, Boyles, Blaines, and Carbuncles, the Leaders, Lieutenants, Serieants, and Corporalls: the maine Army consisting (like Dunkirke) of a mingle-mangle, viz. dumpish Mourners, merry Sextons, hungry Coffin-sellers, scrubbing Bearers, and nastie Graue-makers: but indeed they are the Pioners of the Campe, that are imployed onely (like Moles) in casting up of
This shows that people cannot decide their fate and you never know when you would die. The Masque of the Red Death by Edgar Allan Poe is an allegory in which symbolizes the cycle of life. The seven chambers represent the different chapters of life and can also represent sin. The black room represents death, and the fact that Prince
The horror of the plague: An Analysis of “The Masque of the Red Death” In Edgar Allen Poe 1842 short story “The Masque of the Red Death,” A plague destroyed the country, not only was so fatal and horrible but by actually seen how it affected the body, how those dark spots cover the face of the person it look horrible. How the blood will cover their entire bodies, the black sports become darker like the color black little by little it will cover the entire body and have a slowly death. The prince not only did he build a wall, that had an amazing structure so the plague will not be on his way and he could survive. He let his people die, but only half of them were already dead by the time that he builds the wall. H e just invited the most important people Knights, part of his court and some of the people that will work for him on the castle.
Stages of Grief Preparing for death affects the patients’ behavior and emotions. While preparing for death, one will go through a series of stages before dying. These stages were identified by Dr. Elisabeth Kubler-Ross, a psychiatrist who worked with terminally ill patients. The stages of grief include denial, anger, bargaining, depression, and acceptance. (See Table 1.)
There is even a symbol that is a piece of furniture.Three of them is the lottery itself, the black box, and the names of several of the characters. The lottery is symbolic of the cruelty and inhumane practices that still exist in the world today. One of the reasons Jackson wrote this story was to bring attention to the inhumanity found in society. Another symbol is the black box from which families' names are picked. It clearly represents the doom that is forthcoming death (imminent death).
Ralegh presents the change of seasons by juxtaposing the good aspects of spring with their brevity in each stanza, whereas Keats discusses the beauty of autumn in the first stanza and describes it ending in the last stanza. Time and the idea of it passing quickly is emphasised in both poems; it is feared yet accepted as the way of life. From the first line of ‘The Nymph’s Reply’, there is immediately the suggestion of youth and age by the use of the conditional tense; ‘If all the world and love were young,’ (1). This is emphasised as ‘if’ is the word that this poem starts off with and there is a sense of wistfulness as the reader realises that both the world and love are not young. Ralegh has capitalised the word ‘time’ (5) drawing attention to it, as well as the ‘t’ sound being quite harsh compared with the relatively soft ‘f’ sounds following it.
In the tragedy Othello, the characters of Othello, Desdemona and Iago are truly complex in their nature. Othello is complex due to the supposed ‘blackness’ of his skin and his tragic flaw, Desdemona is complex because of her queer personality and her mix of emotions, and Iago is complex because he is a pure villain and he has no clear motive for what he does. Othello is believed to have been a black character, although some see his race as being ambiguous. Either way, Othello is one of Shakespeare’s most complex characters as his life ends in a murder/suicide. At the beginning of the play we see Othello as a noble and valiant general of Cyprus who is highly respected.
Sassoon’s poetry described the horrors of the war and how disgusting it is. Two poems which show the perspective of war is: Firstly, Counter-Attack, which describes how war is like; and secondly, died of wounds, which show the condition of war. The poems relate to the feeling and emotion war creates. Also it shows how horrible war is. The techniques that Sassoon has used in the poems are: imagery, simile, metaphor and onomatopoeia.
In giving death characteristics of being mortal it diminishes the effect of fear that death is associated with. Donne then goes on to personify death, giving the entity human characteristics, in line two, “Mighty and dreadful, for thou art not so” and line nine, “Thou’rt slave to fate, chance, kings, and desperate men”, these characteristics make death appear defenseless and less fearsome. Throughout the poem metaphors are also present, he frequently compares sleep to death, and “From rest and sleep, which but thy pictures be, much pleasure, then from thee much more must flow” lines 5-6. The metaphor suggests that since we derive pleasure from sleep, death should be more pleasurable. Also by referring to line five the “pictures” of death, is implied that sleep is just a short resemblance of death, making death seem effortless and comprehensible, removing the fear of the unknown.