“It’s a simple request already.” He says aggravated by the delay “Just get your asses over to that pathway to terror, and suck some blood at midnight, what’s the problem?” Wondering what part of get the hell out don’t they understand. “I’m sure Sheila, and Monica are down with that,” he says hoping to get them all on the same page. Pauses, for a moment he gives a strange look at Gretchen. He hesitates wanting to be as politically correct as possible, and put a valley girl type slang to the end after all, when in Rome well you know the rest. “And dude,” he adds, “Gretchen is like. Cool with it, dude.” He says with an exclamation point, in hopes to get the dead beats to leave. They all pause for a minute paying close attention to Bobby and …show more content…
Disappointed by the interruption, he shakes his head in frustration, thinking he cannot afford to lose their attention anymore. Too much valuable time has already been lost, and he needs to make up some distance, that is if he hopes to reach their destination by midnight, if not, the plan is dead. They have chosen to become victims of the elusive count Jacques of Transylvania and they follow him into the path toward the chained entrance. Some of them brought back from the depths of intoxication by the mere thought of this idiotic stunt, while others gain full function of their senses and are enjoying the excitement of the strange adventure. Bunched together is a collection of many emotions, they all head into the path unaware of the madness that waits. Jacques is carrying a small silver flashlight that appears to be as old as his convertible and it must be shaken repeatedly for it to function properly. Climbing over the chain entrance, he steps on the dirt road, looking back at Bobby and off to the side as if looking for something or someone. With that step, the group takes one-step closer to their destiny, except for Bobby and Maureen, that is, they remain alone in the car watching the others as they mindlessly follow Jacques. Looking back at the self-proclaimed Casanova, Monica shouts, “Hey, aren’t you
Samuel de Champlain, who’s known as “The Father of New France” was a French explorer during the 17th century. He also was a navigator, cartographer, soldier, administrator, and chronicler of New France. He is famous for discovering Lake Champlain, Quebec City, and he helped establish the governments of New France.
When reading ancient texts, they are often told through an omniscient point of view, such as The Odyssey or Gilgamesh, or they are written through another person’s perspective, such as The Republic. Confessions differs in that it is told from a first-person point of view, which makes it uniquely fascinating because we get to learn firsthand how Augustine’s actions, thoughts, and beliefs affected him. In comparison with the other, often mythical, texts, Augustine is a humanized perspective into the world—neither divine nor idolized; his story resembles that of many others as a man who grew to seek both conviction and resolution in his choices. The Confessions of Saint Augustine is, at its core, the journey of an everyman through his life—a concept not far removed from contemporary media. It is the culmination of his trials, tribulations, and efforts as a young man whose development influenced by the immense possibilities of the spiritual world that surrounded him.
In the short story “An Adventure in Paris” by Guy De Maupassant an unnamed woman seeks for adventure, love, and excitement. An unnamed narrator starts to explain the inner nature and curiosity of a woman. The story transitions to the point of view of an unnamed lawyer’s wife which allows us to see her deepest desire to travel to Paris and be part of the lavishing life she has seen in the magazines. To escape her regular routine she makes a plan to go to Paris; however, her family members are only middle class and cannot help her fulfill her desire to live the life of a celebrity, fame, and fashion. Just when her trip seems to be monotonous she comes across the chance to live the life of an extravagant person. This chance happens when she meets Jean Varin, a wealthy author, in a store wanting to purchase a Japanese figurine. When Varin decides that the figurine is too expensive the lawyer’s wife steps up to buy the figurine which causes Varin to notice her. She flirtatiously invites herself into Varin’s daily activities which intrigue Varin. As the day closes she invites herself to Varin’s house and has an affair with Varin; however, she doesn’t feel she is satisfied because of his many needs. She anxiously waits till morning to come so that she can leave which only confuses Varin. When Varin asks her why she is leaving after all they have been through she states that she wanted to know what depravity felt like; however, it was not what she expected. The central idea of the story is about a woman’s psychological desire for romance, adventure, and an opulent lifestyle that leads to curiosity and the immoral act of adultery.
Within The Stranger, Albert Camus includes a passage concerning the story of the Czechoslovakian man. Camus employs this passage not only to foreshadow Meursault’s final fate, but also to emphasize Meursault’s antihero status by creating foils between Meursault and the Czechoslovakian man. The Czechoslovakian man has a brief appearance in the story which plays a large part in Meursault’s emergence as a dynamic character. Meursault’s emotionless demeanor throughout the story distinguishes him as a flat character, at face value, at least. Once he enters prison, he must find ways to pass time, and one of those ways becomes recalling how to remember. The story of the Czechoslovakian man turns into one of his means of remembering, as he reads and rereads this story, memorizing details and forming actual opinions. These shifts within Meursault represent his first real commitment to any single entity, even if that entity exists only to pass time.
The Stranger is a story narrated by the protagonist of the novel who suffers alienation from himself and the world. The narration of the protagonist is divided into two parts where part one concern the routine affairs of Meursault as it begins with the death of his mother at the Home for the elderly in Marengo. He is unmoved with the death of his mother and do not observe the funeral rituals as this makes him involve in an affair with Marie, an action that makes the society angry. Part one ends when Meursault is involved with Raymond, who beats his girlfriend and colludes with Meursault to write in his defense and to accuse the woman. Eventually, this leads to more fights where the girl’s Arab brother gets in a fight
Moliére's Tartuffe has long been considered a masterpiece of French Literature for its powerful social commentary, finely sculptured characters and its presentation of moral theme. While Tartuffe stands soundly on its own merits, its curiosity and impact for audiences both within its own period and for contemporary productions are heightened by the history surrounding its original presentation.
"Anyone else would have given up on trying to convince me, especially on something like this, but not you. You don't know when to stop. You just keep pushing, and you know what to say to make me break. When I offer you a way out, take it next time, alright?" He started to walk away from me. "Be here ten minutes before midnight. Don't be late. You know I hate that."
After the fire at Coulibri, Antoinette endures a rough time in her life, for her mother rejects her and Pierre dies. Antoinette’s mind is full of fear, sadness and instability. This trauma is clearly shown in the convent that she attends for the remainder of her adolescence. Upon entry, Antoinette takes immediate note and puts extra emphasis on describing the stones in the school. Taking note of the “cool stoneflagged room” (Rhys, 28) and providing this as the initial description suggests that she is at first uncomfortable. Having just been aggressively confronted by two residents of the island Antoinette is shaken (Rhys, 27). In order to further convey Antoinette’s distrustful mind, Rhys describes the uninviting and cold stones of the convent thus allowing the reader to more deeply
Geoffrey Chaucer has successfully developed several themes which are seen throughout his works. Although the literary techniques that Chaucer uses are not his own, these themes which reoccur are in the one of a kind style which defines Chaucer's works.
The fantastical recounts of the so-called barbaric religion from the perspective of white males was certainly a captivating read. Both Forbes and St. John managed to take a complex and alluring religion and simplify it so that it could be digested by the horrified general “civilized” public. St. John’s portrayal of Vaudoux, or as it is known today as Voodoo, gave the religion a distinctly appalling feel through his descriptions of various instances of ritualistic sacrifices and cannibalism that came afterward. Coupled with his overt distaste for non-white Haitians his work is compelling for all the wrong reasons. Cannibalism is something that has never really crossed my mind before as anything other than morally and ethically wrong, I was surprised
is married he tells her "Consider how natural and how plain it is, my dear, that
An hour wasn’t enough to explore the grand old-world architecture, the rustic allurements and picturesque squares teemed with buskers, artists, musicians; soaked in culture and vibrant colors.
The chateau of Monsieur the Marquis is important to the identity of Charles Darnay, from which in this setting we learn that “Darnay” is not even his real last name. At this setting we learn that Darnay is the nephew to the monster who is the Marquis. This is crucial to our perception of the character’s identity at that moment, as after seeing the terrible things the Marquis has done we are led to question if Darnay himself is putting up an act and also follows in the cruel ways of his uncle. However, the conflict that occurs within this setting clears all suspicion as we begin to learn more. At the beginning of the conversation between uncle and nephew, Darnay speaks his mind about his imprisonment.
"Well, about you pressuring Rosie into feeling like she couldn't do what she wanted to do, but like she had to do whatever you want her to do like you are her mother or something. What is up with that?"
Fleur watches the woman in red across from her like a hawk. She allows a small smirk to rest upon her face, as she clasps her hands in her lap and she ponders a thought. The blonde wonders if the woman had any abilities that could be useful for this interview. Did the woman possibly possess the ability to read minds? Was she able to tell a lie from a truth or was she a master in the emotions? Fleurette says a little prayer in the back of her mind, hoping she doesn’t have the ability to expose her fibs. Crossing her legs, she allows her beaming smile to form on her face. As she starts to speak, her words are thick from her accent. “Well, ma chère.” She pauses and lets a fake laugh escape her lips. “Oh, silly me. I shouldn’t be going around calling