In the beginning of ‘The Tell-tale heart’, Poe builds up the madness of the narrator by using contradiction, repetition and rhetorical question. ‘TRUE! Nervous very, very dreadfully nervous I had been and am: but why will you say that I am mad?’ The staccato rhythm has a great impact. Repetition is used to synthesize the excitement and madness of the narrator’s vociferous babbling when he tries to convince us that he is not mad. A rhetorical question is used twice (How then am I mad?)
When Montresor is ready to go to the catacomb with Fortunato, he puts “on a mask of black silk” and wraps himself up in “a roquelaire.” He wears the mask and the roquelaire because it hides his identity. Montressor is sensitive and did many things to make this murder go smoothly and not to get caught. Secondly, Montresor is trickey. Montresor led Fortunato to believe he was his friend. Fortunato was drunk and Montresor led him to his catacombs claiming that he thinks he has a cask of Amontillado, but needs an expert to taste it.
I did not know what to expect when I started watching The Ladykillers, as the title was very ambiguous, but I was pleasantly surprised. The impressive stage design and the comedic depiction of a heist conducted by eccentric individuals with piercing idiosyncrasies in the midst of a sweet and naïve elderly woman made for a very lighthearted night out. The small, cozy Vaudeville Theatre amplified the entire experience. The stage was marvelous—I was impressed from the very beginning, during the introductory sequence when the house rotated about the stage, revealing the actors within. A few minutes later, once the suspicious Professor Marcus offered his initial proposition to Mrs. Wilberforce, the entire stage rattled and the furniture slid around as a train passed nearby.
The title of story plays a big part in deceiving Fortunato. The word cask, which means wine barrel, is derived from the same root word used to form casket, meaning coffin. Therefore when Montresor is speaking of going to the cask he is ironically speaking of Fortunato’s casket (Cummings 2). Along with the title Fortunato’s name is very ironic. In Italian Fortunato means fortunate one, this is ironic because Fortunato is very unfortunate in the story because he is being led to his death and is treated like a fool.
Fortunato’s Misfortune Pride has always been the source of many feuds between human beings from the beginning of time. It was pride that led to kings fighting each other for no other reason than having too much pride. It is also the problem between Montresor and Fortunato in Edgar Allan Poe’s short story “The Cask of Amontillado.” Fortunato had insulted Montresor which led Montresor’s pride to seek revenge. He strategically messed with Fortunato’s pride and leads him to his death with his love for wine. Through the actions of these two men, Poe illustrates that a man’s pride leads to his own demise.
The narrative device of gossipy dialogue is used to depict Gatsby’s character and present a heightened sense of mystery and drama surrounding the perplexity of the protagonist. Rumours such as ‘he killed a man’ and ‘he was a German spy’ create a theatrical yet domineering addition to Gatsby’s character, making him seem almost out of reach and God like, linking to the symbolism of Dr T. J. Eckleburg in Chapter 2. The violent and negative association to Gatsby such as ‘killed’ and ‘spy’ add to the drama by seeming more scandalous, thus more exciting to continue as rumour meeting the ideals of the guest’s image of Gatsby. Ironically Gatsby meets most of these ideals later on in the novel, hinting at a twentieth century tragedy with chapter 3 depicting Gatsby at his high point leading to a downfall. The use of gossipy dialogue also
Shakespeare manipulates our response to Richard by implying in the text that he poisoned his wife Anne in order to gain a political marriage to his niece, Elizabeth of York. He is a master of dissembling and a man undeniably without charm, regardless his physical deformity. Finally, he possesses a sense of irony and a sardonic wit, which extensively explains his connection with audiences and readers. Shakespeare’s use of soliloquies enables us to see Richard’s duplicitous nature. He masterfully manipulates our response into having a grudging admiration for his skilful use of language.
As he is a product of the Romantic value of egocentrism; he is blind to the consequences of his overwhelming desire to be omnipotent and is driven to discover the “secret of life”. To Victor, this secret is a metaphor for life yet ironically, it is his lack of communication that results in the immoral execution of Justine. Shelley echoes his blindness through the symbolism of light as enlightenment, stating that this ‘secret’ will bring a “torrent of light into our dark world” (page 55). Similarly, the recurring motifs of eyes in Blade Runner are symbolic of knowledge and perception. In the opening scenes, the extreme close-up of the eyes with blazing fires foreshadows the concept of dangerous knowledge.
This, of course, is not the true nature of "goodness", and a key element in Twain's satire. In fact, Huck, who is one of the only good characters in the novel, believes good is based on the elements of dangers which face him every day, and due to this dichotomy, does not believe he is "good". This becomes painfully evident when Huck meets the Gregfords. The Gregfords are an obvious simile for pure evil. Though they have a temporal glow to them, after all, they are rich and aristocratic.
How far is Iago responsible for the downfall of Othello? “I am not what I am" the villainous Iago states, confirming his sly, deviant nature. Othello's downfall can be largely blamed on Iago as, for one, Iago plants the seed of doubt in Othello's mind about Desdemona's supposed affair with Cassio, something which Othello would never have considered otherwise. He uses a number of different techniques to do this which shows his character to be sly and manipulative. Indeed, Cox claims he is "satanic in his energy, intelligence and daring contempt for goodness."