If you want a happy ending, try A” (63)), each reader can pursuit a happy ending. Nonetheless, whichever way the reader goes through, he or she gets to the sentences “Eventually they die. This is the ending of this story” (64). After finishing all the versions of the story, the impersonal narrator says: You’ll face to it [“they die”], the endings are the same however you slice it. be deluded by any other endings, they’re all fake things….
Ingeniously, the journey that the reader experiences begins and ends at the same spot - Miller's acceptance of the world. In the first part Orwell focuses on a curiosity of Miller's book. He tries to uncover whether a publication that refuses to take a political stand in a world moving rapidly towards World War II, can actually be a “good” book. After comparing it with several other authors with similar style (e.g. Whitman, Joyce), Orwell finds its main quality in the way it focuses on an ordinary human being.
One of the primary contrasts in these two short stories is the route in which the reader discovers the ending of the stories. In the necklace, the reader discovers the closure of the story in the conventional configuration, towards the end of the short story. Maupassant believes that “he must construct his work with such skill, it must be so artful under so simple a guise that it is impossible to detect and sketch the plan, or discern the writer’s purpose” (597). However, in The Tell-Tale Heart that starts in medias res, the reader knows the ending at the absolute starting point of the story. Poe’s reasoning is that to get his readers into this preconceived effect, the steps taken to get to that point matters a great deal from the very first sentence.
Through greatness one must die to be remembered as a legend. The poem allows Death to voice that he doesn't reflect gory, but glory. Death speaks of the runner as a champion, but justifies that in life; victors fade and become meaningless in the eyes of the masses: So set, before the echoes fade, the fleet foot on the sill of shade. Death was able to set the runner free before he would face humiliation of witnessing his prestige fade
For example, in his story of “Anelida and Arcite” he ends the story with: “Then ende I thus, sith I may do no more. I yeve hit up for now and evermore, For I shal never eft putten in balaunce…” (Chaucer, lines 342-344). It lets his reader know immediately what it is that he wanted him or her to realize from reading his story. It is not a moral in the sense that it is telling someone what he or she should do but it is a moral in the sense that, it is what the reader has learned from reading the tale. Chaucer wrote this story in the 14th century, now fast forwarding to the 20th century, we have Elizabeth Bishop and Sylvia Plath, who not only write in modern English instead of Old English but now they have adopted a more modern way of presenting their aphoristic statements, which may not be closed off like Chaucer who will mark the prelude to his statements with “Conclusion, thus end I thus.” Now it is somewhat harder
Death and Dying Well According to Buddhaghosa and Montaigne “To begin depriving death of its greatest advantage over us, let us adopt a way clean contrary to that common one. Let us deprive death of its strangeness, let us frequent it, let us get used to it, let us have nothing more often in mind than death...we do not know where death awaits us so let us wait for it everywhere. To practice death is to practice freedom...a man who has learned how to die has unlearned how to be a slave”(Montaigne). In his insightful essay, Montaigne expounded on the results of his philosophical inquiries about death. According to Montaigne, the purpose of living is to prepare oneself for the final act of dying, where one is freed from the outward appearances that he projects, and, in turn, will reveal his true self.
This is all because Othello passed over him and granted the rank of Lieutenant to Cassio, a man who was never in battle. It is this passing over him in rank that gives Iago the fire to sadistically carry out the demise of Othello. Iago, who is very much an artist at playing the evil role, illustrates his plot by using this line in a crucial moment in the play, when he states, “Ha,I like not that” (III.iii.35), which happens when they are approaching Desdemona and Cassio, before Cassio scurries away, giving Othello the impression that he is ashamed of something. Iago is assigned the name of "honest Iago," again, after the brawl in Act II, scene ii where he was the reluctant truth-teller who must have unpleasant news dragged from him by Othello who was dead set on hearing the truth of what happened. Iago lectures Othello, warning him against jealousy, "the green-eyed monster", and insisting that he will not speak slander: "He that filches from me my good name / Robs of that which not enriches him / And makes me poor indeed" (III.iii.158-61).
Aimlessly, he decided to go to the pond where he remembered Allie’s death and imagined his funeral. Finally, eager to talk to Phoebe, he risked to go home. From surface it looks like that it is just a diary of Holden’s trivial matters, even judging from the whole book. However, when dug into the spiritual world of Holden, these plots were developed with the worsening sentimental situation and complicated emotions of him. This chapter is counted into a climax and a turning point of the novel.
In contrast, the opening scene of Revenger’s Tragedy appears much more focused and accessible in comparison with Shakespeare's complex opening scene. It is soon clear to the audience that Vindice will play a central role in the play since we are quickly bombarded with his thoughts and opinions. Here, there is no room for complexity. Vindice labels himself avenger for his wife’s death - the ‘old duke poisoned’ her. Very little ambiguity is found within this verse, as Vindice’s motive is clear: revenge.
The portrait, however, absorbs all the signs of aging, vices and misdeeds of which stain overnight. The portrait symbolizes immortality, while the beauty of Dorian and his apparent innocence are symbol of bourgeois hypocrisy who tended to hide all the facets of being. At the end of the novel Dorian stabs the portrait with a knife, killing himself, because he couldn't stand more of what had become, and the picture magically returns to its original purity and beauty. Four years later Oscar Wilde would explore the same theme in “The Picture of Dorian Gray”: Like Stevenson, Wilde suffers from his time’s conditions. In his novel, we can find the expression of extreme Decadentism, centred on the theme of the double, typical of the psychological horror stories.