Stoker’s expertise in horror makes The Lair of the White Worm more suspenseful. Stoker shows that those who seek power with dark intentions, ultimately fall victim to an end. Arabella and her lust for power make her otherworldly form more deadly, as she has the need to feed. She lied and tried to get to Adam, but he saw right through her and ended her demonic life. Stoker trying to prove that betrayal and power will lead to one’s demise perfects the power of foreshadowing and irony. Arabella was a terrible creature that wanted power, and in her attempt to get it, lead herself to be discovered and killed. Bram Stoker’s purpose of this novel was to show, even with immense power, like the power Arabella possessed, there is always a want for more. …show more content…
Unfortunately, with that want, consequently comes with an end. Stoker’s perception of the end frequently leads to death. He shows that those who want power and seek it in unjust ways, will eventually lead themselves to death. The lust for power is more present in his novel The Jewel of the Seven Stars as no one truly has power, they just try to obtain it. Bram Stoker’s novel, The Jewel of the Seven Stars, a suspense filled horrific novel, follows a group of people and their lust for power.
Although underestimated, it presents a powerful gothic atmosphere as well as intricate themes displayed only by close reading. Stoker uses his characters’ journey to show flaws within human nature. Malcolm Ross, Margaret Trelawney, Abel Trelawney, and Eugene Corbeck all set out to resurrect Queen Tera, a powerful and mysterious Egyptian queen. Through the use of symbolism and foreshadowing, Stoker effectively portrays when one’s in search of power without caution, it will lead to …show more content…
death. Stoker’s develops symbolism in the beginning of the novel when Malcolm meets Abel.
Abel Trelawney possesses a preserved mummy hand with seven fingers. The ancient relic is said to be “…the very hand the Queen Tera herself used to bring about devastation to all she ruled” (Stoker, The Jewel of the Seven Stars 79) and symbolizes the power she wielded as a queen. The seven fingers on her hand are used to show not that she was abnormal, but that she was of greater power, as if “having seven fingers gave her greater artistic control. Her capacity for overproduction suggests that the beauty of her workmanship is inseparable from manual horror” (Briefel). Not only was her hand symbolic, but also present was Tera’s ruby ring. Abel Trelawney begins explaining the significance of the ring to his companions, he states that “She had engraved on a ruby, carven like a scarab, and having seven stars of seven points, Master words to compel all the gods, both of the upper and the under worlds” (Stoker, The Jewel of the Seven Stars 146). Queen Tera once had so much power ruling over Egypt, and Abel Trelawney wanted to resurrect her to reanimate that power, so that he may have Queen Tera do his bidding. What he failed to see was that, even in her spiritual state, she was still much more powerful than any man and was certainly not going to let a mortal control her. Stoker’s use of symbolism in the hand and ring of Queen Tera, show that she was much too powerful to be toyed with, and when she
is, she leads the group of characters to their destruction. Foreshadowing plays a major role in The Jewel of The Seven Stars. When Margret began to know Tera’s thoughts and feelings, Malcolm thought that she might become possessed thinking she will not be able to survive, and asking, “How do we know she isn’t here now? How do we know she is not taking over my beloved Margret’s body? There is no possible way Margret can suffer through this!” (Stoker, The Jewel of the Seven Stars 279). Malcolm feared and wanted to retract form the exhibition, but the others would not stop. His failure foreshadows the demise the group will be walking into. Referring to the Mummy’s Curse, an ancient Egyptian story stating that disturbing a mummy has dire consequences, Malcolm was afraid that Tera was trying to destroy Margret and the rest of the group. The spirit of Tera was strong and Stoker shows “…no suggestions of the female mummy as anything other than hostile and vengeful” (Bulfin). Once the resurrection ritual began, complications happened. Smoked covered the cavern, Margret collapsed, and Malcolm, only trying to save Margret, sees that Tera’s body has disappeared and everyone but himself has died. Malcolm knew that disturbing the Queen’s rest would have consequences, but he was unable to persuade the group to end their quest. His fear for disturbing the queen and referring to the Mummy’s Curse made him more aware of the danger present. Stoker uses the Mummy’s Curse to foreshadow that Malcolm, being the only sensible one not in want of power, survived.
The book, Into The Wild, has a very intriguing storyline. The protagonist, Christopher Johnson McCandless, also known as Alexander Supertramp, faced internal and external conflicts throughout his journey. One example of an internal conflict that he faced through was his complications with his family. He discovered that his father, Walt McCandless, had been living two completely different lives for several years. Christopher was born to his mother, Billie, while Walt was currently married to his first wife, Marcie. Two years after his birth, Walt became a father to another child, which belonged to Marcie. I believe that Chris was filled with anger and felt betrayed, but kept it to himself. An example of an external conflict that he encountered was the nature. He was filled with confidence that he could survive in the wilderness. Even though many individuals warned him and attempted to scare him off, he declined all of their suggestions and continued his plans. Chris attempted to strive through the wild and harsh climates, but failed to do so. People had different theories about his death.
There is no doubt that when bad things happen to people, they want to reflect their misery on others whom they think caused it, which is exactly what happened with Edmond Dantes, a once innocent man who became consumed by hatred.
Throughout their early life, children feel oppressed by their parents. From being constantly nagged to being misunderstood, children can feel that their parents dislike them. With screams and threats, with lions lurking, Ray Bradbury utilizes foreshadowing and symbolism to uncover those dark feelings that dwell within a child.
In the novel Dracula, by Bram Stoker, there is much evidence of foreshadowing and parallels to other myths. Dracula was not the first story featuring a vampire myth, nor was it the last. Some would even argue that it was not the best. However, it was the most original, using foreshadowing and mood to create horrific imagery, mythical parallels to draw upon a source of superstition, and original narrative elements that make this story unique.
As Mccarthy once said “The suspense of a novel is not only in the reader but in the novelist, who is intensely curious about what will happen to the hero. (Mary McCarthy)” In this quote, McCarthy means the main characters in the story are suspenseful to draw the reader to be anxious. Above all, the author incorporates the use of literary terms in his or her’s story to create the feeling of suspense. To be specific, in the story “The Hitchhiker” by Lucille Fletcher, the author includes the elements foreshadowing and supernatural to leave the reader anticipated and anxious what is going on in the story. Also, in “The Monkey's Paw” by W.W Jacobs, the author develops suspense by adding literary devices such as situational irony and cliffhanger
Written in 1818, the latter stages of the Gothic literature movement, at face value this novel embodies all the key characteristics of the Gothic genre. It features the supernatural, ghosts and an atmosphere of horror and mystery. However a closer reading of the novel presents a multifaceted tale that explores
This essay will firstly briefly describe the theories and important facts about the original multi-store model of memory (MSM) and the working memory model (WMM).
show the audience that the film is in this style, such as the mise en
Bram Stoker’s Dracula is the story about how the small company of men and a woman lead by Professor Abraham Van Helsing combats against Count Dracula, who moves from Transylvania to England in order to manipulate people as “foul things of the night like him, without heart or conscience, preying on the bodies and the souls of those [they] love best” (223). Stoker employs an epistolary format in this novel and nowadays, Dracula becomes one of popular literary works representing epistolary novels written in the nineteenth century. The term “epistolary novels” refers to the novels composed of different types of documents, such as journals, letters, newspaper clippings and so forth. One of the effects created by using an epistolary format is providing the characters’ inner state throughout the story, which “focuse[s] on a broader exploration of the insights that made up the conscious self by and [the broader context]” (Ştefan 73). Consequently, Stoker’s use of fragmentary narratives delivers the main characters’ emotions and thoughts in more picturesque ways. In Dracula, the epistolary format of the novel increases terror and suspense, which derived from tension when the story alters after alluding characters’ insecure future and immense power of Dracula affecting not only the main characters, but the third parties who are irrelevant to them.
Foreshadowing is a common literary device used to allude to something to come in a story before it has happened. Foreshadowing in a sense is reading between the lines attempting to understand what the author is trying to convey and often is intertwined with the overarching morale of the story. It can often be detected through character communication and social interaction as it is shown in Philip K. Dick’s short story “Beyond Lies the Wub”. He also uses world-building, the technique of establishing a setting, especially in science fiction novels, that is unique to the novel created by the author. Dick used early character communication between Captain Franco, Optus, and Franco’s crew along with world building to convey foreshadowing of Franco’s
From Transylvania to Hollywood, vampires have transformed from unfamiliar, mysterious personalities to one of the most dominant monsters in the horror genre today. Vampires are one of the oldest and most noted creatures in mythology, with many variations of them around the world. Although the most famous version is Bram Stoker’s Dracula, many variants have come before and after telling of the same legend with their own added ideas and modifications to relate to their cultures. Today, there is a multitude of literary and film works that convey and resurface peoples’ fear of vampires. As gothic works like Dracula, by Bram Stoker and Scooby-Doo! and the Legend of the Vampire directed by Scott Jeralds share certain traits reflective of the genre;
Kindred relates Dana’s struggle for freedom and self-determination primarily by way of her body. It constructs the time jumps, which forcibly move Dana as explicitly corporeal events. It presents the apprehensive and over-determined relationship between Dana and Rufus, her white ancestor, in terms of a struggle for control over her body; and it clearly marks the brutal legacy of slavery, imprinted on a character from the presen...
In the novel She and in the stories of The Arabian Nights, both Haggard and Haddawy explore the expanding gender roles of women within the nineteenth century. At a time that focused on the New Woman Question, traditional gender roles were shifted to produce greater rights and responsibilities for women. Both Ayesha, from Haggard’s novel She, and Shahrazad, from Haddawy’s translation of The Arabian Nights, transgress the traditional roles of women as they are being portrayed as strong and educated females, unwilling to yield to men’s commands. While She (Ayesha) takes her power to the extreme (i.e. embodying the femme fatale), Shahrazad offers a counterpart to She (i.e. she is strong yet selfless and concerned with the welfare of others). Thus, from the two characters emerge the idea of a woman who does not abide by the constraints of nineteenth century gender roles and, instead, symbolizes the New Woman.
Throughout “Araby”, the main character experiences a dynamic character shift as he recognizes that his idealized vision of his love, as well as the bazaar Araby, is not as grandiose as he once thought. The main character is infatuated with the sister of his friend Mangan; as “every morning [he] lay on the floor in the front parlour watching her door…when she came on the doorstep [his] heart leaped” (Joyce 108). Although the main character had never spoken to her before, “her name was like a summons to all [his] foolish blood” (Joyce 108). In a sense, the image of Mangan’s sister was the light to his fantasy. She seemed to serve as a person who would lift him up out of the darkness of the life that he lived. This infatuation knew no bounds as “her image accompanied [him] even in places the most hostile to romance…her name sprang to [his] lips at moments in strange prayers and praises which [he] did not understand” (Joyce 109). The first encounter the narrator ex...
... quest ends when he arrives at the bazaar and realizes with slow, tortured clarity that Araby is not at all what he imagined. It is tawdry and dark and thrives on the profit motive and the eternal lure its name evokes in men. The boy realizes that he has placed all his love and hope in a world that does not exist except in his imagination. He feels angry and betrayed and realizes his self-deception. He feels he is "a creature driven and derided by vanity" and the vanity is his own. At no other point in the story is characterization as brilliant as at the end. Joyce draws his protagonist with strokes designed to let us recognize in "the creature driven and derided by vanity" a boy who is initiated into knowledge through a loss of innocence who does not fully realize the incompatibility between the beautiful, innocent world of the imagination and the very real world of fact. In "Araby," Joyce uses the boyhood character with the manhood narrator to embody the theme of his story. Joyce, James. “Araby”. Literature and It’s Writers.