'Once upon a time' is undoubtedly the traditional way to start a story, likewise how “happily ever after” generically finishes one. However, I have found that my interest lies between these lines, watching how a story emotionally engages a reader. Literature enhances reality, embarking readers on a personal journey where we genuinely talk to the characters, feel the setting, and believe the narrator. It feels so real that we let ourselves get lost within it. It was my extensive reading into both my A-level material and classics like Russell’s ‘Blood Brothers’ that sparked my desire to develop these ideas further at university and enhance my writing ability.
Considerably, literature is a form of escapism. This came to me from a young age, where I became engrossed by the concept of story-telling. Whether it be through the natural world conveyed by romantic poets like Shelley and Wordsworth or the complex characters found in prose, like in the works of Dickens and Hardy; comprehending how plots are reflective of life intrigued me to devise my own.
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The Victorian Gothic era holds great interest to me, due to the horrific imagery conveyed in texts such as Poe’s ‘The Raven’ or Stevenson’s ‘Dr Jekyll and Mr Hyde’ as it’s interesting to compare this to the atmosphere projected in contemporary novels like Banks ‘The Wasp Factory’. This may explain my enthusiasm for thriller pieces as I find them to be the most rewarding if you can evoke a genuine feeling of suspense in the reader. I do find it hard to limit myself to one genre as I enjoy a wide selection of literature ranging from playwrights such as Tennessee Williams and Shakespeare, to the poetry of Larkin and Rossetti. These varied mediums have intrigued me into widening my understanding of English, as I’m enthusiastic to share ideas with other
How W.W. Jacobs, H.G. Wells and Charles Dickens Create Suspense in their Gothic Horror Stories
In the first chapter of the book we are introduced to one of the main
Escape literature is the complete opposite of interpretive literature. Escape literature is written purely for entertainment. Escape literature takes it's reader out of the real world and into a fantasy world where everything works and happens just like we want it to. This is a world where the ending always has closure. Escapist authors hardly ever end on a bad note. They want the reader to leave the pages of their story satisfied, and having a sense of contentment. Perrine's example of escape literature is Cinderella. Cinderella's life goes from rags to riches in one night. She marries a prince and lives happily ever after. According to Perrine the most common expectations of escape literature readers are the sympathetic heroes or heroines, the suspenseful plot which one exciting event proceeds another, the resolved happy outcome, and the theme. Escape literature themes confirm the reader's previous opinions of the world. Readers of escape literature read for pleasure not to gather knowledge on how to survive in the real world.
Romantic literature, as Kathy Prendergast further claims, highlighted things like splendor, greatness, vividness, expressiveness, intense feelings of passion, and stunning beauty. The Romantic literary genre favored “parts” over “whole” and “content” over “form”. The writer argues that though both the Romantic literary genre and the Gothic art mode were medieval in nature, they came to clash with what was called classical conventions. That’s why, preoccupations with such things as the supernatural, the awful, the dreadful, the repulsive and the grotesque were the exclusive focus of the nineteenth century Gothic novel. While some critics perceived the Gothic as a sub-genre of Romanticism, some others saw it as a genre in its own right (Prendergast).
I frankly confess that I have, as a general thing, but little enjoyment of it, and that it has never seemed to me to be, as it were, a first-rate literary form. . . . But it is apt to spoil two good things – a story and a moral, a meaning and a form; and the taste for it is responsible for a large part of the forcible-feeding writing that has been inflicted upon the world. The only cases in whi...
Reading Edgar Allen Poe’s works such as “The Cask of Amontillado” and “Tell-Tale Heart” are both written around 1840’s and written in the gothic style. Poe displays his horror short stories, in which the reader can differentiate his signature style. Although many of Poe’s significant works may have a similar theme, the reader can distinguish the themes through the characters in “The Cask of Amontillado” and “Tell-Tale Heart.”
Punter David, ‘The Literature of Terror’, in A History of Gothic Fictions from 1765 to the Present Day, The Modern Gothic. Harlow, eds. (UK: Pearson Education, 1996)
Word by word, gothic literature is bound to be an immaculate read. Examining this genre for what it is could be essential to understanding it. “Gothic” is relating to the extinct East Germanic language, people of which known as the Goths. “Literature” is defined as a written work, usually with lasting “artistic merit.” Together, gothic literature combines the use of horror, death, and sometimes romance. Edgar Allan Poe, often honored with being called the king of horror and gothic poetry, published “The Fall of House Usher” in September of 1839. This story, along with many other works produced by Poe, is a classic in gothic literature. In paragraph nine in this story, one of our main characters by the name of Roderick Usher,
	Escape literature is the complete opposite of interpretive literature. Escape literature is written purely for entertainment. Escape literature takes it’s reader out of the real world and into a fantasy world where everything works and happens just like we want it to. This is a world where the ending always has closure. Escapist authors hardly ever end on a bad note. They want the reader to leave the pages of their story satisfied, and having a sense of contentment. Perrine’s example of escape literature is Cinderella. Cinderella’s life goes from rags to riches in one night. She marries a prince and lives happily ever after. According to Perrine the most common expectations of escape literature readers are the sympathetic heroes or heroines, the suspenseful plot which one exciting event proceeds another, the resolved happy outcome, and the theme. Escape literature themes confirm the reader’s previous opinions of the world. Readers of escape literature read for pleasure not to gather knowledge on how to survive in the real world.
The gothic often presents dangling characters and plot lines, which contribute to the main point of the gothic: suspense. Brown’s works depend on the use of suspense as a literary technique and is evident in Wieland within Clara’s first person point of view narrative. Her constant reflections on how difficult it is for her to continue on with the series of events. Such actions, although they may seem trivial, persuade the reader to continue on to find out what happens
Naturally, it is human nature to yearn for some sort of evil. Sinning is common on a daily basis. Kids lean towards destruction. Countless people have the urge to gamble at casinos. Human beings are lustful creatures and have sexual notions constantly in their minds. Evil is not something that can be avoided. For those who appear perfect, their "evil" is well hidden. Thus, ."..humanity is...synonymous with the struggle of good and evil" (Abbey, et al. 328). Robert Louis Stevenson's The Strange Case of Dr. Jekyll and Mr. Hyde centers on the dual nature of the human personality through the good and evil facets of Dr. Jekyll's character.
Edgar Allan Poe has a unique writing style that uses several different elements of literary structure. He uses intrigue vocabulary, repetition, and imagery to better capture the reader’s attention and place them in the story. Edgar Allan Poe’s style is dark, and his is mysterious style of writing appeals to emotion and drama. What might be Poe’s greatest fictitious stories are gothic tend to have the same recurring theme of either death, lost love, or both. His choice of word draws the reader in to engage them to understand the author’s message more clearly. Authors who have a vague short lexicon tend to not engage the reader as much.
From reading Alice in Wonderland to now, I have grown to appreciate literature much more. At the beginning of the year, I read purely because it was assigned for me to read, and I only read for important events and story plots. When reading Alice in Wonderland for the first time, I missed everything that Lewis Carroll was trying to convey to the reader. I had no idea that he had written Alice in Wonderland with the intention of preparing children for the real world. I thought it was just a story full of random events and nonsense, but after my realization of a deeper meaning, I grew to appreciate his efforts. From then on from Beowulf to the Fairie Queene, I have learned to see literary works as more than just stories but a...
Literature has many purposes, and opens doors to unique worlds. Through Literature, we discover ourselves and world time and again.
Literature is rarely, if ever, merely a story that the author is trying to tell. It is imperative that the reader digs deep within the story to accurately analyze and understand the message the author is trying to portray. Authors tend to hide themselves in their stories. The reader can learn about the author through literary elements such as symbolism, diction, and structure. A good example of this is Robert Frost’s poems The Road Not Taken and Nothing Gold can Stay in which he uses ordinary language unlike many other poets that became more experimental (Frost, Robert. “1.”).